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THE J. PAUL GETTY MUSEUM LIBRARY
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’ ON FREE PUBLIC VIEW
FROM 9 A. M. UNTIL 6 P. M.
AT THE AMERICAN ART GALLERIES
BLOCK OF MADISON AVENUE, 56th TO 57th STREET, NEW YORK
ENTRANCE, 30 EAST 57th STREET
BEGINNING SATURDAY, MARCH 3lst, 1923
AND CONTINUING UNTIL THE DAY OF THE SALE
THE NOTABLE , COLLECTION
OF THE ART OF
THE ITALIAN RENAISSANCE
AND
FRENCH 18"! CENTURY,
BELONGING TO THE ESTATE OF THE LATE
WILLIAM SALOMON
OF NEW YORK CITY
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
ON THE AFTERNOONS OF
WEDNESDAY, THURSDAY, FRIDAY AND SATURDAY
APRIL 4th, 5th, 6th AND 7th, AT 2.30 O’?CLOCK
AND EVENING OF THURSDAY, APRIL 5th, AT 8.30 O’CLOCK
IN THE ASSEMBLY HALL OF THE
AMERICAN ART GALLERIES
THE BLOCK OF MADISON AVENUE, 56th TO 57th STREET
ENTRANCE, No. 30 EAST 57th STREET
TO THE SALES PROSPECTIVE BUYERS WILL BE ADMITTED EXCLUSIVELY BY CARD, THE
NUMBER OF WHICH WILL BE LIMITED TO THE CAPACITY OF THE HALL, AND
CAN BE HAD ONLY UPON WRITTEN APPLICATION OF THE MANAGERS
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Subscriber’s Copy No. 47 2.
EDITION LIMITED TO SIX HUNDRED COPIES
THE J. PAUL GETTY MUSEUM LIBRARY
GRAND STAIRWAY FROM THE ENTRANCE HALL OF THE FIFTH
AVENUE RESIDENCE OF THE LATE WILLIAM SALOMON
DE LUXE ILLUSTRATED CATALOGUE
OF THE ART OF THE
FRENCH EIGHTEENTH CENTURY
THE ITALIAN RENAISSANCE
WILLIAM SALOMON
THE MAJORITY OF THE PAINTINGS PURCHASED FROM RENE GIMPEL
AND THE FIRM OF GIMPEL & WILDENSTEIN
AND MANY OF THE RARE AND ANTIQUE BRONZES PURCHASED UNDER
THE AUSPICES OF THE EMINENT ANTIQUARIAN
JACQUES SELIGMANN OF PARIS
AND A DESCRIPTION OF MR. SALOMON’S FORMER RESIDENCE
1020 FIFTH AVENUE (N. E. CORNER OF 83rd STREET)
NEW YORK CITY
THE ARTISTIC CONTENTS OF THE MANSION
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
AND THE MANSION
UPON THE CONDITIONS MENTIONED
BY DIRECTION OF THE EXECUTORS OF THE WILL OF
WILLIAM SALOMON, DECEASED
ON THE DATES HEREIN STATED
THE SALE WILL BE CONDUCTED BY
MR. THOMAS E. KIRBY AND HIS ASSOCIATES, OF
wow THE AMERICAN ART ASSOCIATION, Manacers
BLOCK OF MADISON AVENUE, 56th TO 57th STREET
ENTRANCE, No. 30 EAST 57th STREET
NEW YORK
THE AMERICAN ART ASSOCIATION
DESIGNS ITS CATALOGUES AND DIRECTS
ALL DETAILS OF ILLUSTRATION
TEXT AND TYPOGRAPHY
PREFATORY NOTE
The American Art Association, although it has moved its American Art Gal-
leries to the art center of New York and therefore of the New World, still carries
the great traditions which it gained from the Mary J. Morgan, A. T. Stewart,
George I. Seney, Henry G. Marquand, Joseph Jefferson, Brayton Ives, James
A. Garland, W. H. Stewart, Mrs. Susan D. Warren, Heber R. Bishop, Henry
Graves, F. O. Mathiessen, Thomas EK. Waggaman, Charles T. Yerkes, Robert
Hoe, M. D. C. Borden, Catholina Lambert, George A. Hearn and countless other
notable sales held at the old Galleries on Madison Square South.
The conspicuous success that characterized those dispersals of artistic prop-
erties has left its mark on the history of art collecting in this country, and fostered
the formation of private collections and nascent Art Museums. Such activities did,
no doubt, in time in some degree determine the late Mr. William Salomon to enter
the field as a collector himself. Mr. Salomon (1852-1919), having founded an In-
ternational Banking House and interested himself in the problems of transporta-
tion and world-wide finance, would naturally search far afield when selecting paint-
ings and works of art that appealed to his taste and fine judgment. Being accus-
tomed to accept the services of others, he sought and received the advice of Henry
Duveen and Sir Joseph Duveen; of Jacques Seligmann, of Réne Gimpel and others
of eminence; and his collections reflect their unusual ability to procure the rare and
authentic. He may be said to have built de fundamento ad summitatem, for he
built his residence at 1020 Fifth Avenue, that it should prove a worthy casket to
contain his treasures, and to hold its own among the best of its serious rivals and
enriched neighbors. That Mr. Salomon, who was the founder of the Educational
Alliance, acquitted himself of his self-appointed task with conspicuous success is
abundantly proved by the enumeration of his works of art in this Catalogue. Yet the
array before us does not in any way exhaust the full measure of his attainments as a
collector. In point of fact, he laid his ground truly by purchasing at the outset in
Europe and incorporating in his home, Marbles, Staircases and Structural Equip-
ments which illustrate the discriminating judgment of a connoisseur.
(Signed) Mavricre W. BrockweE.t.
New York, March, 1923.
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THE PALATIAL MANSION
MR. BARR FERREE
Eprror or “American Homes aAnp GARDENS”
privately previous to April 4th, 1923, will be offered at
MERICAN ART GALLERIES
" fe ; On Saturpay, APRIL 7TH,
on the ‘conclusion of the sale of the
E AND COSTLY CONTENTS
s regarding inspection of the premises, see
NOTICE
REGARDING INSPECTION OF THE MANSION
The Salomon Mansion at 1020 Fifth Avenue, the full description
of which here follows, may be inspected by those contemplating its
purchase on the presentation at the house on Monday or Tuesday,
March 19th or 20th, 1923, from 9 A. M. until 4 P. M. of a card of
admission which can be obtained only on written application to THE
American Art Association, Managers. The Mansion, if not dis-
posed of privately previous thereto, will be offered at public sale at
Tur American Art GALLERIES on Saturday afternoon, April 7th,
1923, at the conclusion of the sale of the rare and costly contents.
TERMS AND CONDITIONS OF SALE
Sixty per cent. of the purchase money may remain on bond and
mortgage for a term of years at five per cent. (5%).
At the time of sale the purchaser is to sign a memorandum of his
purchase and pay a deposit of twenty-five thousand dollars ($25,000),
either in cash or by certified check, to the order of the American Art
Association, Managers.
For a period not exceeding thirty (30) days after the sale, the ven-
dors shall have the sole right to the possession, occupancy and use of
the premises. At the expiration of this period the deed will be
delivered and possession of the premises given to the purchaser, who
at the same time will pay the balance (forty per cent.) of the pur-
chase money, less the amount of the deposit of twenty-five thousand
dollars.
Wt i
THE MANSION
No. 1020 FIFTH AVENUE
Nortueast Corner oF 83rd STREET
THE EXTERIOR
The splendid Mansion, No. 1020 Fifth Avenue, at the northeast corner of
Fifth Avenue and Kighty-third Street, was built by Mr. and Mrs. William Salo-
mon for their own occupancy. Trowbridge & Livingston were the architects.
It is a stately building, occupying the whole of the site, 68 feet by 100, on
which it has been erected. The quiet and sober exterior in brown stone does not
suggest the palatial richness of the interior; it offers, nevertheless, two strong fa-
cades, one on each street, which are entirely satisfactory, with large windows in
monumental frames, and bay windows on both fronts. One of these, on Eighty-
third Street, is of bronze, and forms the street end of the Palm Room.
The Mansion is four stories in height, with a basement that opens into a spa-
cious areaway, enclosed within a high iron fence, supported by brown-stone piers.
The fourth story is entirely hidden from the street by the balustrade carried all
around the building above the third floor.
The entrance is at the extreme left of the Fifth Avenue front, thus giving the
maximum amount of space for the large rooms of the interior. It is approached by
a short flight of brown-stone steps, and is framed in Griotte marble, the single
stone of color in the exterior, and is surmounted by a marquise.
THE FIRST FLOOR
THE ENTRANCE AND VESTIBULE
The massive entrance doors are of rosewood, decorated with molded panels,
the centermost of which has a large bronze lion-head carrying a ring. ‘The storm
doors have iron frames encasing sheets of plate glass. The Griotte marble frame
of the exterior of the door is continued on the inner surface, where it is developed
into an ornamental pediment.
Just within rise the steps, of Istrian marble, that reach the level of the main
floor. The walls are entirely faced with light green marble, treated with molded
panels at the steps. The single ornaments are the side lights, bronze cupids, two on
each side. ‘The ceiling is arched and paneled, with gilded frames in reliefs of scrolls
and ornaments; the paneled centers are painted with grotesque heads and floral em-
blems on blue grounds. At the top of the steps is the inner door, a high round arch
enclosing magnificent panels of wrought iron, lined with plate glass.
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The rich materials of the entrance at once disclose the fact that the interior
of the Mansion is quite different from the exterior. One does not need to advance
farther than just within the entrance door, to realize that here is a building war-
ranting serious consideration as a work of art.
The Vestibule is not large, but is of quite sufficient size to fill its purpose. It
is square in plan, and is wholly lined with marble. The walls are of white marble
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capitals, ae in enns eae The segments of the arches enclose circles of
green marble, and the spandrils are decorated with appli |
I pplied shells and triangular
MAIN HALL, FIRST FLOOR, AND GRAND STAIRWAY
ornaments in blue and gold. The ceiling is a dome, the lower part of which has
two rows of caissons with small decorative figures, with triangles and squares fill-
ing in the blank spaces. Above is a band of figures, heads and grotesques. The
prevailing coloring of this decoration is blue and gold in soft tones.
On the left side, as one enters, is a built-in marble shelf, decorated below with
cherub heads. Immediately in face is a wrought-iron door, opening into a passage
where is the elevator, and connecting with the service departments in the base-
ment, and with the pantry adjoining the Dining Room in the rear. Here, also,
are the service stairs, running from the top to the bottom of the Mansion.
To the right is a square-headed doorway opening into the Central Hall. The
piers on either side have inset marble panels of grotesques and flowers, enframed
within narrow mosaic borders.
THE CENTRAL HALL
The Central Hall is a magnificent apartment, occupying the middle of the
Mansion. It rises to the roof, extending through the two chief floors, and is sur-
mounted by a glazed dome. It is entirely lined with white marble. The floors are
of marble with paneled borders.
The grand staircase rises in the center of the innermost wall. It is a monu-
mental structure, with wide steps rising to the first landing, where it turns to the
NOTVS GNVUO AML
left, and reaches the second floor just above the entrance from the Vestibule. It
is contained within a marble balustrade that is continued around the opening at the
second floor. Each newel, at the base, is surmounted by a marble cherub, lovely
and gracious figures of a most appealing beauty.
While the staircase is the chief architectural contents of the Hall, it by no
means furnishes the principal decorative features. These are supplied by the mar-
bles with which the walls are decorated, and which constitute a group of most un-
usual interest. They were originally in a villa at Bagheria, not far from Palermo.
Although late in date, they constitute one of the most important ensembles of Late
Renaissance sculptures in America. Originally they formed part of an external
stairway; here, of course, they have been transposed and adjusted to the spaces
available for them, and as best adapted to the decoration of this sumptuous apart-
ment.
And their utilization has been exceedingly clever. While at first glance they
may seem somewhat irregularly disposed, and that some panels stand quite alone,
this is actually not so; their disposition is entirely orderly and symmetrical, al-
though the points of symmetry may seem somewhat distant. ‘There are friezes ap-
plied to the longer walls; panels over the doorways; upright panels beside the
principal openings; panels on the stair walls; and two lovely caryatids support-
ing the ceiling. All the panels have mosaic backings, more or less in evidence, and _
quite necessary in order that the sculptures be adapted to their present locations.
The soft reds and blacks of these mosaics are of such tones that, from the base of
the stairs, the panels on the stair walls seem of pierced marble; only close at hand
does one realize that these are large slabs to which the sculptures have been ap-
plied.
There are four main doorways opening from the Central Hall: from the Ves-
tibule, to the Grand Salon, to the Small Salon and to the Palm Room. Each is
surmounted by a decorative panel whose chief motif is a pair of cherubs support-
ing a disk of red marble. By the entrance doorway, the doorway to the Grand
Salon and by that to the Small Salon are long panels with decorations of cherub
heads, foliage, scrolls and grotesques. The wide frieze along the wall of the Grand
Salon has pairs of cherubs supporting cartouches with heraldic emblems. The
frieze along the wall of the Small Salon is similar, save that the cartouches carry
floral designs.
The panels on the stair walls are quite different. These are applied to the
main wall as one ascends, and continued on the right. ‘They are five in all. The
first two are the largest, and show vases developing into foliage, with dolphins,
fronted birds, hanging fruits and foliage, with a bird on a nest at the top of the
first panel, while a seated lamb completes the decoration of the second panel. The
third and fourth panels are somewhat smaller, and show cartouches with cupid
heads at the top. The final panel is triangular in shape, with an angel in high
relief, holding a trumpet in one hand and a crown in the other. All the panels
are set in carved and molded frames.
AVMUIV.LS GNVYS AO MHIA HLIM ‘NOTVS GNVUD AML
Like the first floor, the second floor of the Central Hall is paved with white
marble, with borders of red and green. ‘The doorways to the various rooms have
marble frames. Over three of them are oval panels decorated with paintings and
upheld by scrollwork. 'The exceedingly sumptuous effect of this upper hall is
chiefly due to the ceiling. This is an exceedingly gorgeous composition, heavily
molded, with panels in blue separated by roped bands, all richly gilded. In the
four corners are circular painted panels inset in rich frames. A similar treat-
ment of blue and gold caissons is used for the ceiling in the lower floor.
Over all is a great glazed oval dome, with a richly decorated framework.
THE GRAND SALON
The Grand Salon is a noble room, occupying the whole of the Fifth Avenue
front, except the space required by the entrance and the Vestibule. The walls are
entirely faced with a boiserie in white and gold, and which has been utilized in its
original form. It is understood to have been originally in a house in Paris, the
property of the Marquise de Hopital, and was made in 1757, and is quite un-
touched.
The boiserie consists of wide and narrow panels, separated by slim pilasters.
The wide panels enclose either double doors or mirrors; the narrow panels serve
as points of separation, the pilasters give emphasis to the various parts. The
whole is wonderfully harmonized and the decorative adjuncts are rich and beauti-
ful. The ground is white; the ornamental detail everywhere is gilded.
The entrance wall contains six panels. Of these the central one is the widest
and is the entrance from the Central Hall. On either side is a small panel; be-
yond these a wide one; then another narrow panel; and on the extreme right, a
doorway. 'To the left of the entrance the paneling is the same as on the right; save
at the extreme end, where the final panel, just beyond the doorway to the Small
Salon, is slightly narrower than the other wide panels. On the Fifth Avenue side
there are again six panels, the midmost and widest being the bay window. Two
windows open into other panels, the remaining surface being treated as the en-
trance wall. Hach end contains three panels. In the center, on Kighty-third
Street, is a window, with a wide panel on either side; in the center of the oppo-
site wall is the fireplace; the adjoining panels containing double doors.
At the base of the walls is a narrow band of red and white marble; it is a
mere support to the wood, and is no part of the decoration. The lower part of the
boiserie is finished with a series of small rectangular panels that constitute a base.
The large panels have simple carved outlines and contain mirrors, some with
straight tops, some arched. All the mirrors have gilded frames, decorated with
twisted ropes of foliage, developed at the top into hanging festoons, and com-
pleted with ornamental headpieces with a shell center, and with flowers, arrows, gar-
den tools and other emblems and with two birds in high relief. The narrow panels
are also outlined with gilded moldings, and provided with ornaments at top and bot-
tom; to the center of each is applied a girandole in gilded bronze.
The doors, which have the value of individual panels, are in beautiful harmony
with the wall panels. Each is doubled and all are supplied with locks and fixtures
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VIEW OF GRAND SALON, FACING FIFTH AVENUE
in chiseled gilded bronze, exquisite details that hardly count in the whole vast
space, but extremely fine and handsome. Fach side of the door has three panels;
below, a rectangular molded panel; then a narrow one decorated with ribbons and
flowers; and above, a large panel, with a decoration of wreaths, flowers and rib-
bons below, and hanging flower baskets with emblems above. All this decoration
is carved in the wood and gilded. Over each door is a small gilded panel with me-
dallions in relief, encased within borders of flowers, with sprays of foliage.
The fireplace is in delightful harmony with the rest of the room. It is small
and low and of white marble. At each end is a channeled column, with a rosette
above. The connecting frieze is very delicately carved in arabesques, and the iron
lining is in keeping with the general design. Over it is a mirror and panel of the
same general design as the other mirrored panels.
Of the other decorative features of the room, mention should be made of the
small pilasters that serve as points of division between the upper panels, They are
narrow, and treated with bands of carved foliage, with small capitals, all gilded
throughout. On the Fifth Avenue front two of the mirrors have consoles below
‘them. They are segments of circles, carrying bands of foliage and supported by
volutes; below is a carved group of lyre and foliage. The shelves are white mar-
ble. The bay window on Fifth Avenue has a roped frame with shell in the center.
The recess has plain panels on each side, and the three windows have roped frames
and metal mounts. The ceiling, decorated with a flower basket and scrolls, is sup-
ported by a molded frieze. The ceiling of the main room is white plaster and is
without ornament. It is supported by a coved frieze and crown, which is modern
and has been added to adapt the boiserie to the dimensions of the room. Nor
should the splendid marquetry floor be overlooked in listing the permanent fea-
tures of this very notable room.
THE SMALL SALON
The Small Salon opens from the Grand Salon, and extends along the Eighty-
third Street front of the Mansion, Here, again, is a fine old French wainscoting
applied in its original form. ‘The main divisions of the walls are marked off with
pilasters without capitals, and are decorated with bands of narrow moldings.
There are small plain panels below, and larger decorated ones above. These have
molded outlines, with groups of ornament at the base, and, above, hanging festoons
with flower baskets and festoons. All these decorations are carved in shallow re-
cesses cut in the main surface of the panels.
The chimney breast is in the center of the street side, and projects slightly
into the room. It contains a fireplace of gray marble with bronze mounts. At each
end is a small column, over which is a bronze rosette. Bronze ornaments are ap-
plied to the frieze and the lower spandrils. There is a hearth of the same marble
and an iron lining.
Above is a large mirror, with a high-arched top. It is set in a frame of pilas-
ters with delicate branches of foliage, and a caissoned arch, over which hang fes-
toons of foliage. There is a similar mirror, framed in the same way, on the oppo-
site wall, and one on each side of the doorway from the Grand Salon.
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THE SMALL SALON, OR RECEPTION ROOM
There are three doorways to this room: one from the Grand Salon, one from
the Central Hall, and one leading to the Palm Room, which is farther on. Over
each of these is a relief of cupids, which are a part of the series used in the Cen-
tral Hall.
THE PALM ROOM
The Palm Room is beyond the Small Salon, with which it is connected by a
deep recess, closed by a double doorway of plate glass in a frame of molded gilded
wood. ‘The walls and floor are entirely lined with white statuary marble. ‘The
floor has a double border of dark and light green marble. The walls have a plain
paneled dado, above which are panels of light green marble, inset in white. The
special decorative feature of the room, however, lies in its splendid collection of
columns of colored marble of Italian origin.
On the Eighty-third Street end is a rounded bay window with semi-dome, the
framework of which is wholly of bronze. At each side of the opening is a high
column of polished marble, each different in color, and both with Corinthian ecapi-
tals. Eight shorter columns, again different in color, support the marble cornice of
the wall paneling. And at the end, opposite the bay window, is a shallow niche,
with a marble seat, above which are eight more columns applied to a mosaic back-
ground decorated with candelabra and foliage on a gold ground. The semi-dome
of the niche is filled with a mosaic lattice pattern in green and gold.
An opening from the Central Hall is without doors, but is framed in white
marble. On each side is a marble relief of grotesques and foliage, surrounded
with a mosaic border. Directly opposite is a similar opening to the Dining Room.
Here the thick separating wall again forms a kind of recess; again, on each side, is
a marble relief of festoons and grotesques growing out of vases, and set in frames
of carved wood. The segmental ceiling of the room is modern, and is of plaster imi-
tating wood. It is paneled with molded borders separated by garlands.
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ITALIAN LAVABO IN PALM ROOM
The general treatment of this room, and especially the fine utilization of the
extraordinary collection of old Italian marble columns employed in its decoration,
would alone make it remarkable. But it contains another notable permanent fix-
ture in the fine Italian Lavabo, affixed to the center of its longest wall. This beau-
tiful piece was taken from an old palace in Venice. It is beautiful alike in general
design and in the exquisite patina that age has given its marble. It consists of two
basins crowned with an arch, and thus presents four parts.
The lower basin is supported by two birds, one at each end, and is faced with
a rather narrow cornice, richly carved. ‘The piers carrying the second basin are dec-
orated with cupids in relief. The frieze at this section is carved with foliage in low
relief and with three winged cherub heads. ‘The top cornice, again richly decorated,
is supported by griffons. The crowning arch has a decorated border, within which
are foliated panels. The whole piece is in fine preservation, and is perhaps to-
day more beautiful than when first set up, owing to the softening effect of time
and usage.
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THE DINING ROOM
The Dining Room runs across the rear of the Mansion, and is lighted by win-
dows at both ends. The entrance from the Palm Room is through a wide double
doorway. The doors are of plate glass in gilded frames, covered with a lattice-
work of wood with small rosettes, all gilded. The interior door frame is a mag-
nificent old Italian piece. It is encased within two great columns of wood, painted
old-blue and superbly decorated with foliage and cupids in relief, gilded. The
Corinthian capitals carry a rich entablature, wide-spreading at the top, with a
frieze with three panels, the midmost of which carries the inscription:
TOTA PVLCRA
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The sumptuous coloring of this monumental frame, old-blue and gold, gives the
keynote to the whole room. Its exceedingly elaborate decoration, as well as its
coloring, is repeated in the ceiling.
At the Eighty-third Street end is a bay window with three sides. On each side
of the opening is a splendid colossal column of Bréche Violette marble, of Italian
origin, and dating probably from the seventeenth century. Of the many rich mar-
ble columns in the Mansion, these are unquestionably the choicest, for this splendid
marble is seldom available for columns of this size. That they have gilded bases
and carry gilded Ionic capitals are mere details; their superb surfaces and great
size make them among the most notable marbles in America.
The walls have a walnut dado, to which are attached three consoles of Siena
marble with bracket supports picked out in gold. The hardwood floor is a mag-
nificent piece of wood mosaic, and has a border of Siena and Numidian marble.
The bay window is entirely floored with marble, and a narrow band of Siena marble
supports the walnut dado.
Immediately opposite the entrance doorway is the chimneypiece. It is an elabo-
rate structure, the end piers of which are supported by small coupled columns of
red marble, whose capitals, with carved heads on the corners, support brackets with
acanthus leaves. A rather narrow cornice, with foliage in low relief, supports the
main frieze of dancing angels. These form a continuous joyous band running be-
hind small columns of red marble carrying the crowning cornice, which is carved with
foliage, and has a grotesque head in the center of each projected end. Above is an
inclined truncated top panel, with flying angels carrying a heraldic insignia within
a wreath. And at each end is a free standing child angel embracing a candelabra.
There are two windows at the inner end of the room, and between them is an
open cabinet, which was originally a window frame in an old Venetian palace. It
now stands on a base of Siena marble, and consists of two slender pilasters support-
ing the crowning frieze, and enclosing two stories of small columns, with a separat-
ing band of ornament. The entire surface is carved throughout, the end pilasters
being decorated with panels, and the inner columns covered with foliage and vines.
The colors are blue and gold, corresponding to the prevailing colors of the room.
THE SECOND FLOOR
THE MASTER’S SUITE
The Master’s Suite occupies the Fifth Avenue front of the second floor, and
consists of a large bedroom on the corner, boudoir and bath, with an additional
bath and bedroom on Kighty-third Street.
The main bedroom has a boiserie taken from the chateau of the Comte d’Au-
tun, at Autun, in Burgundy. The walls are treated in large rectangular panels
with molded frames, with carved festoons in the upper part. There are small panels
below and above, and the walls are finished with a frieze and cornice. At one end
a mirror is applied to the panel, and the fireplace is built in the southwest corner.
The fireplace is of white marble, with a beaded frieze carrying a head in an octagon
in the center, supported by columns of white and green marble. Above is a mirror
in an arched frame.
HOOTH GNOOUS “TIVH NIVW AML
The doors form the most notable part of the boiserie. ‘They are double, each
with three sets of panels; the lower contain large ovals; the small intermediate
THE MAIN BEDROOM, SECOND FLOOR
panels are carved with delicate foliage; and the large upper panels are richly carved
with flowers and foliage in high relief, very beautifully done. ‘The metal mounts
are of chiseled bronze, gilded. Above the doors are semicircular panels, decorated
with figures in gray and white.
The Boudoir, which adjoins this room on Fifth Avenue, has a large round-
arched window. It is paneled in wood, with large panels with a lattice decoration
in their upper parts. One wall is filled with closets, decorated in the same way. but
with mirrored fronts. The ceiling has a deep cove, ornamented in gold.
The Bath Room attached to this suite is the most notable of the many such
rooms in the Mansion. It is lined throughout with marble, the walls having pilas-
ters with Ionic capitals, between which large panels of onyx have been inserted.
It is divided into two parts by a marble railing. The inner part is lower than the
outer, and is reached by a short flight of semicircular steps. The bath tub and
shower are in the lower section. The ceiling is a half circle treated as a dome in its
decoration of mosaic, in soft grays and blues, ornamented with trellises and grapes.
The room is lighted by a large round-arched window on the Avenue, and the en-
trance door is surmounted by a mosaic decoration with cente?r circle.
ee tha
-
AONGAV HLA ONIOVA “YOOTA GNOOUS ‘WOOUGAM NIVIV
MASTER’S BEDROOM, SECOND FLOOR
At the other end of the Suite, opening onto Eighty-third Street, is a second
bath room, connecting with another bedroom. The doors and mantel are of the
same beautiful character as those in the main bedroom.
THE INNER HALL
The main stairway in the Central Hall rises only to the level of the second
story. A subsidiary hall extends from the Central Hall to the Library at the rear,
and contains the stairs leading to the third floor. It is paneled throughout in oak,
in narrow molded panels, surmounted by a broad frieze. The ceiling is white, with
exposed beams.
The stairs rise to the left, enclosed within handrails of pierced oak in a compli-
cated pattern of circles and foliage. This handrail is on both sides of the lower
flight of steps; in the upper section, which adjoins the wall, it is on the outer mar-
gin only.
UPPER PORTION OF STAIR WELL, THIRD FLOOR
The upper portion of the stair well is one of the most charming parts of the
house. Like the lower hall, it is paneled in oak; but here the paneling is in long
upright sections alternating with painted panels of the school of Fragonard, which
were taken out of a chateau near Vienna, in Austria. There are seven of these pan-
els, delightful pieces, very fresh in color, and very characteristic of their period.
The paneled ceiling has a ceiling light, filled with soft yellow glass.
THE SECRETARY’S ROOM
On the right of the Inner Hall is a door in old oak, decorated with cherubs’
heads, horns of plenty, and flowers. It opens on to the Secretary’s Room, a small
apartment, richly paneled in old oak. The walls have superb panels of richly
carved oak, in exceedingly intricate design, inserted in them, notable pieces merit-
ing the most attentive study. The frieze is formed of smaller panels decorated
with symmetrical patterns. The doors are enclosed within channeled pilasters,
standing on high molded bases, and a small head is at each end of the surmount-
ing frieze.
THE SECRETARY’S ROOM
The fireplace is set diagonally across one corner. Faced with pink Numidian
marble, the opening is surmounted with a frieze of grotesque heads between molded
panels. The overmantel has three panels carved in low relief, and the crowning cor-
nice is supported by richly ornamented pilasters ending in heads. An outer scroll
decoration completes this interesting piece.
The geometrical ceiling of the room is treated with decorated panels.
THE LIBRARY
The Library is at the extreme end of the inner hall, and occupies the space 1m-
mediately above the Dining Room. It is hence an apartment of noble dimensions,
and its permanent fixtures contain a number of notable pieces.
The entrance doors have plainly molded panels on the hall side; but within they
offer four large panels delicately carved in low relief with intricate designs. They
form the central feature of an elaborate composition, all in oak. On each side is a
column whose entire surface is carved with foliage, and which stand on plainly
molded pedestals. Above is a triangular balcony, supported on carved brackets,
and having a pierced balustrade, with panels enclosing angels supporting a car-
touche, with foliage and spirals.
AUVUEIT AHL
ESSRESDCCESEAS BNTNPEASERERSEEASE AUS ESS OTATATISUORERTSTSSSESAVSESH YS SE SL EDS Tidy
DOORWAY AND BALCONY OF LIBRARY
Farther on, symmetrically placed with regard to the entrance doorway, are two
superb old oak double doors, one on each side of the center. The frames have deco-
rated moldings, but the doors themselves are extremely rich and beautiful. Each
half has five panels, three narrow ones with flat cartouche-like decorations, and two
rectangular upright panels, containing smaller oval panels, all exquisitely carved,
and constituting works of art of the highest order. ‘The door handles, like the
handles of the entrance doors, are bronze heads, here inset in the carvings of the
central narrow panels. Above the doors are paintings, inset in narrow frames.
Ron
ee
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sO te SS
ELABORATE CARVED STONE CHIMNEYPIECE IN LIBRARY
Opposite the entrance door is the chimneypiece. It is an elaborate composition
in two parts, the fireplace and the overmantel, the whole richly carved in stone.
The fireplace is contained within an elaborately carved frame, with outer pilasters
with decorated panels, and with rich capitals, each presenting a grotesque head.
The frieze depicts the story of Adam and Eve, with small figures and trees in the
end pieces.
The connecting band is narrowed over the opening, and has a band of
delicately carved foliage, with birds eating grapes. In the center is a bracket
carrying, in the upper frieze, a delicious little angel playing a viol. This second
frieze is carved with foliage, birds and cartouches, with a mask on each end. It is
completed with a decorated cornice.
The overmantel is a superb composition, presenting a Roman naval engage-
ment. Like the lower part, it is wholly in stone, the central scene being carved in
high relief. On each side of the frame is a heroic figure of a nude warrior, stand-
ing behind armor and arms grouped below. A frieze of helmets and draped flags
is surmounted by the final cornice.
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4
The room is lighted by three windows at each end. Each group is in a shallow
recess, with a walnut column wholly carved with foliage at each end. The col-
umns have two drums, the lower shorter than the other, each with a pair of boldly
projected angel heads. They stand on low paneled bases, and are surmounted
with Corinthian capitals.
The walls are covered with red silk velvet, and are finished with a carved
wood cornice, the upper member of which has molded corbels with rosettes between
them. Above is a deep cove, paneled and molded with colored decorations in low
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relief. A heavy roped frame encloses the painted ceiling, representing the “Apo-
theosis of Louis Quatorze.” Seated on a cloud, a figure of France approaches him
with a plaque bearing the arms of France. Little angels fly around with the royal
emblems; a larger angel blows a trumpet, and another empties the horn of plenty.
A brilliant and vigorous composition.
The floor is a splendid specimen of inlaid marquetry with ornamental borders.
THE THIRD FLOOR
BLUE BEDROOM, THIRD FLOOR
The Third Floor contains bedrooms, arranged in suites with connecting baths.
In a general way these all open on to a corridor running around the space occu-
pied by the dome of the Central Hall. It has a round-arched ceiling, and is
trimmed with walnut; the walls are red silk damask. ;
The most important of the bedrooms is the corner room overlooking Fifth Ave-
nue and Kighty-third Street. It is known as the Rose Room, from the color of the
furniture. It is paneled in wood painted gray, with small lower panels and upper
ones in two tiers, with ornaments above and below. A shallow decorated cove sup-
ports the ceiling. The windows have segmental tops, and there is a built-in mirror
between those on the Avenue. The fine old French fireplace in the corner is rose
and yellow marble, molded, with a mirror above it. Over the doors and mirrors
are painted panels representing the arts, taken from a dressing-room of the Comé-
die Francaise. Most of these panels are originals, but some additional ones were
necessitated by the size of the present room.
ANOTHER VIEW OF THE ROSE BEDROOM ON THIRD FLOOR
The adjoining room has some similar painted panels over the doors. The wood-
work is painted white, and the walls are hung with fawn silk with embroidered bor-
ders. The fireplace is white marble with caryatids.
Of the other rooms on this floor special mention should be made of the Small
Library on the Kighty-third Street side. It is finished with oak, with a ceiling
with exposed beams. It is entirely surrounded with open bookshelves. The doors
have channeled pilasters on low bases, and the frieze is decorated with small carved
heads and ebony panels. The fireplace is faced with Dutch tiles, and the overman-
tel has a frieze of carved wood panels.
HOOT. GHIH.L ‘WOOUdHH ASOU
SMALL LIBRARY, THIRD FLOOR
THE BASEMENT
The Basement is reached from a Central Hall by a flight of marble steps en-
closed within a passage wholly lined with marble, both walls and ceiling. At the
base is a Foyer, floored with white marble, with purple and green borders. On one
side is a door to a recess that leads to the service section; on each side is a marble
column.
Directly in face is the door to the Billiard Room. It has an ornamental frame.
whose cornice is carried on a pair of cupid caryatides supporting the frieze. The
doors are plate glass. The Billiard Room is treated with walnut, with walls of
red silk damask and a narrow oak cornice. ‘The entrance doorway has fluted col-
umns on either side, with high carved lower drums and Corinthian capitals. The
bay window opening is supported by marble columns with Ionic capitals. 'The fire-
place, of white marble, is delicately carved with a frieze of heads, garlands, grif-
fons and festoons. The room connects with a Lavatory at a slightly lower level,
wholly lined with marble. .
THE SERVICE ROOMS
The Service Rooms are, for the most part, located in the basement. Here are
the kitchen, laundry, linen room and trunk room. The cellar contains the furnace.
The Butler’s Pantry, which immediately adjoins the Dining Room on the first
WOOU CGUVITUA
PURUSEN ORES
—S eae. ae Te i. *\8. °s +a ee
floor, is fitted with every possible convenience, and contains the silver vault.
inets for glass and other table articles are arranged in a balcony within tl
Pantry. as
The servants’ quarters are on the fourth floor, which contains fifteen | b
and three baths.
While the ornamental rooms of the Mansion are the parts that nece
tract the most attention, and rightly so, for a wealth of artistic material ]
into their structure and decoration, it is a dwelling intended to be live
is equipped throughout with all the modern conveniences needed to n
able.
ORD ROE SoA LE
WEDNESDAY, APRIL 4TH AT 2:30 P.M.
SILVER, ITALIAN BRONZES, FABRICS AND MISCEL-
LANEOUS OBJECTS.
THURSDAY, APRIL 5TH AT 2:30 P.M.
EUROPEAN PORCELAINS, ITALIAN FAIENCE, FRENCH
BRONZES, CLOCKS AND CANDELABRA, ANDIRONS,
MARBLES.
THURSDAY EVENING, APRIL 5TH AT 8:30 P.M.
FRENCH AND ITALIAN PAINTINGS, MARBLES, DELLA
ROBBIAS, ITALIAN BRONZES.
FRIDAY AFTERNOON, APRIL 6TH AT 2:30 P.M.
MINIATURES, ENAMELS AND OTHER CABINET OB-
JECTS, DRAWING ROOM LAMPS, STATUETTES,
BRONZE ANDIRONS, CHASUBLES, COPES AND OTHER
ECCLESIASTICAL FABRICS, RUGS AND MARBLES.
SATURDAY AFTERNOON, APRIL 7TH AT 2:30 P.M.
TAPESTRIED FRENCH AND ITALIAN FURNITURE,
MANY PIECES SIGNED. TAPESTRIES.
GAA IZ ©.G_U-
FIRST AFTERNOON'S SALE
WEDNESDAY, APRIL 4, 1923
IN THE ASSEMBLY HALL
OF
THE AMERICAN ART GALLERIES
BEGINNING AT 2.30 O'CLOCK
CATALOGUE NUMBERS 1 TO 174, INCLUSIVE
MISCELLANEOUS BRONZES
p+?" 1 OUR BRONZE ORNAMENTS
Busts of the infant Bacchus, draped with branches of the vine in bearing.
Dark, dull patina. Two have wood pedestals.
Height, 41% inches.
se
pr 2—OLD BRONZE ORNAMENT
A massive lion’s head, hollow-cast; dark, thick patina.
Height, 41% inches.
fo: 3—SET OF FOUR GILT BRONZE DRAWER HANDLES
In form of lion-heads holding twisted loose rings.
Height, with ring-drop, 41%, inches.
6°:
4—SET OF THREE GILT BRONZE FINIALS
In form of winged putti with dolphin legs. Varied patina.
Length, 64% inches.
FRENCH, RENAISSANCE AND OTHER SILVER OF THE
SEVENTEENTH AND EIGHTEENTH CENTURIES
gi
5—SILVER-GILDED SALTCELLAR Spanish Seventeenth Century
Low lobed and molded bowl. On open pierced scrolled legs.
0
,4-6—-GILDED SILVER SALTCELLAR Italian Renaissance
Round, with roll over rim; engraved with arabesque scrollings having fleurs-
de-lis motives at intervals. Elaborately scrolled high feet. Engraved
A.M.B.R. under base.
Diameter, 3°/ inches.
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5 7—GEORGIAN SHEFFIELD PLATE SNUFFERS AND TRAY
‘ Eighteenth Century
Scrolled boat-shaped tray, with thread edge, pierced leaf band and small urns
at ends. Snuffers with shell and rosette motives on handles.
Length, 101% inches.
5°
4? 3 SILVER COFFRET French Renaissance
Oblong, with hinged peaked cover and ball feet. Enriched in bas-relief with
mascarons and clusters of fruit. Marks, coronetted G.L. and maker’s mark.
Length, 5 inches.
Formerly in the collection of Joseph Dixon, London, in his sale at Christie’s, London,
March 23, 1911.
vi
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9—-RUBY GLASS GOBLET, MOUNTED IN GILDED SILVER
German Seventeenth Century
Aventurine ruby glass cup; irregularly faceted and fluted at lip. Mounted
on molded round silver-gilt base, enriched with floral motives and gadroons.
Height, 7% wmches.
In the collection of the Marchioness of Conyngham, May 4, 1908, subsequently in the
collection of Joseph Dixon, London, No. 92 in his sale at Christie’s, London, March
23, 1911.
(6) «
10—REPOUSSE SILVER VASE Flemish Renaissance
Tapering body, molded and leaf valanced at crown and foot. Enriched with
three cherubs’ heads in full relief supporting festoons of fruit and flowers,
molding at foot with clustered fruit interrupted by winged cherubs’ heads.
Marks, EF and crowned D in shield.
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Height, 8 inches.
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h) 2.
nl “ 11I—TWO RENAISSANCE AUGSBURG SILVER PITCHERS
Vase shape; with scrolled mouths. | Enriched with cupid-heads, leafage and
scrolled handles. Surmounted by a warrior’s head. Hall mark, impressed
cartouched berries and letter H.
Height, 514 inches.
o~
y? 12—SILVER-MOUNTED CRYSTAL FLAGON Renaissance Style
Flattened bottle shape, cut with stellate motives. Mounted with pierced
arabesque bandings of silver centering at colored medallion of a hound.
Stopper with terminal of male figure.
at
10°
13—ENGRAVED SILVER EWER AND BASIN
Pitcher, gadrooned vase-shaped body, with spreading lip and leaf-scrolled
handle; engraved with sprays of flowers. On high molded round foot having
leaf enrichment. The basin of oval shape, with molded rim interrupted by
shell scrollings.
Height, 12°4 inches.
Pitcher: Height, 10% inches. Basin: Length, 16 inches.
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14—GOBLET Augsburg School
Repoussé gourd-shaped bowl, chased with small figures and animals in land-
scapes, and petal-shaped panels of masks and strapwork, on vase-shaped
panels of masks and strapwork, on vase-shaped stem chased with rams’ heads
and trefoil foot with border of cherubs and fruit.
Height, 984 inches.
Formerly in the collection of Joseph Dixon, London, and No. 16 in his sale at Christie’s,
London, March 23, 1911.
ese
15—FLORENTINE SILVER LION FLAGON
Rampant lion, resting forepaws on shield bearing Florentine coat-of-arms.
Bracketed oval base, enriched with strap arabesques.
Height, 101% inches.
9
16—PARCEL GILDED SILVER CHALICE CUP
Nuremberg Late Sixteenth Century
Deep bell-shaped body, with gilded valance engraved with laurel band inter-
rupted by arabesqued scrollings developing wreaths of flowers and festoons.
On gadrooned and flanged baluster shaft and molded dome foot having a
valance of gilding. Marks indistinct.
Height, 8 inches.
A\9
17—RENAISSANCE GILDED SILVER COVERED COUPE
Augsburg Style
Deep bell-shaped coupe; enriched with strap arabesques, scrollings, festoons
and fruit at base. Finely bracketed baluster shaft, with recurring fruit at
foot. Cover with arabesques and figure of warrior as terminal.
Height, 12% inches.
(Illustrated)
ee
y 18—SILVER-MOUNTED SHELL CUP Renaissance Style
Brown and cream nautilus shell; mounted in silver with strap arabesques,
festoons of fruit, surmounting triton riding dolphin. Supported on dolphin
shaft with fluted and molded round base.
Height, 9 inches.
ee
\" 19—SILVER BRIDAL CUP Dutch Seventeenth Century Style
Standing figure of bride wearing voluminous embroidered skirt and holding
aloft within scrolled arms a swinging cup formed of a small polished
nautilus shell mounted in silver.
Height, 12 inches.
(Illustrated)
be
20—GILDED SILVER STANDING COUPE Renaissance Style
Bell-shaped coupe; enriched with series of flame and ball-shaped bosses, in-
terrupted by strap arabesque scrollings. Similarly adorned cover, with fig-
ure of warrior as terminal. Long inscription on lip, terminating with date
1714. Bracketed baluster stem, with bossed and arabesqued round foot.
Height, 14 inches.
(Illustrated)
19 17
No. 17—RENAISSANCE GILDED SILVER COVERED COUPE (Augsburg Style)
No. 19—SILVER BRIDAL CUP (Dutch Seventeenth Century Style)
No. 20—GILDED SILVER STANDING COUPE (Renaissance Style)
© *
2 21—CHISELED SILVER TAZZA Renaissance Style
Low molded circular bowl enriched with “Tritons and Nereids” and three
seated figures of “the Graces” on shoulder. Satyr base, supported with
legs in the form of dolphins ridden by cupidons. On alabaster incurved
molded triangular base.
Height, 1014 inches.
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h,® 22 P ATR OF BEAKERS
Repoussé with bands of fruit and masks, with applied gilt ornament.
Formerly in the collection of Joseph Dixon, London, No. 78 in his sale at Christie’s,
London, March 23, 1911.
<0 *
e 23—REPOUSSE SILVER MISSAL COVER Italian Renaissance
Molded oblong front and reverse cover. Enriched with lily scrollings sup-
porting a coronet and central oval wreath enclosing sacred monogram.
Paneled and molded back with rosettes. Loose blank book.
Length, 1114 inches; width, 8°4 inches.
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24—TWO COVERED STANDING COUPES Renaissance Style
Deep bell-shaped coupe, enriched with gadroons, engraved scroll borders,
coats-of-arms and inscription. Gadrooned cover, with standing warrior as
terminal. Bracketed bulbous shaft and high gadrooned base.
Height, 15 inches.
Formerly in the collection of Joseph Dixon, London, No. 55 in his sale at Christie’s,
London, March 28, 1911.
(Illustrated)
aa
0
Y 25—RUSSIAN PARCEL-GILDED SILVER COVERED CHALICE
Bowl-shaped coupe; gilded and enriched with bunches of grapes and vines to-
ward base, interrupted by medallions displaying symbols of the “Passion.”
Laurel adorned cover with ball terminal. On spiral baluster stem and spread-
ing base occupied by scenes from the “Calvary.”
Height, 13% inches.
(Illustrated)
No. 24—TWO COVERED STANDING COUPES (Renaissance Style)
No. 25—RUSSIAN PARCEL-GILDED SILVER COVERED CHALICE
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22—TWO REPOUSSE SILVER BEAKERS
‘ Holland Early Seventeenth Century
AEs
Displaying scrollings of peonies, roses, scrolled acanthus leaves, and crest,
“A Lion Rampant.” Initialed G. M. and I. R. M., with date 1610. Marks,
a dagger arched with pellets and a hand press.
Height, 11 wmches.
Formerly in the collection of Joseph Dixon, London, No. 62 in his sale at Christie’s,
London, March 23, 1911.
6 t
27—ENGRAVED SILVER COFFRET Spanish Seventeenth Century
Oblong, with round hinged cover and hasp. Engraved with interlacing ara-
besque strip scrollings on pounced ground. Marks, “A. D. LIZ. Cano”
within shield, and shield with castles.
\o
Height, 3 inches; length, 6 mches.
Formerly in the collection of Joseph Dixon, London, in his sale at Christie’s, London,
March 28, 1911.
0:
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28—SILVER-GILT EWER AND COVER
Spanish Early Seventeenth Century
With plain body of nearly cylindrical shape, with a reeded band round the
upper part, the spout chased with a mask, and the handle formed as a cherub,
the thumbpiece bifurcated, and the cover surmounted by a vase-shaped knob.
Height, 834 inches.
Formerly in the collection of Joseph Dixon, London, and No. 14 in his sale at Christie’s,
London, March, 23, 1911.
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29—-TWO £SILVER ECCLESIASTICAL WINE AND OIL
EWERS
Vase shape; enriched with festoons of fruit, coat-of-arms, gadroons, satyr
mask spout and scrolled handle. Small pineappled and domed cover. Mark
indistinct.
Height, 81% imches.
Formerly in the collection of Joseph Dixon, London, No. 72 in his sale at Christie’s,
London, March 23, 1911.
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70:
) 30—TWO SILVER ALTAR CANDLESTICKS Italian Renaissance
70 «
Pear-shaped scrolled baluster shaft, enriched with cherubs’ heads and acan-
thus leaves. On curved tripod base adorned with further cherubs’ heads,
floral festoons and scrolled legs having ball and claw feet. Deep rich oxi-
dized patina.
Height, 15 inches.
31—OSTRICH EGG COVERED COUPE, MOUNTED IN GILDED
SILVER English Eighteenth Century
Bowl and cover, mounted with molded vertical strapwork; scrolled handles;
on molded circular foot. Cover having flat terminal engraved with crest and
monogram. Mark, T. H., under foot.
Height, 11% inches.
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32—ENGLISH GILDED SILVER EWER AND TRAY
By Lambert of London
Vase-shaped ewer; with rustic handle, profusely enriched with vines bearing
bunches of grapes and engraved coats-of-arms. Round tray with grape bor-
der and similarly engraved coat-of-arms.
Ewer: Height, 15% inches. Tray: Diameter, 14 inches.
.
bi yl" ' 383—GILDED SILVER COVERED VASE AND PEDESTAL
English Eighteenth Century
Deep bowl; on molded round base; pineapple terminated domed cover, richly
scrolled handles; profusely adorned with repoussé vines bearing bunches of
grapes. Molded square base with grapevine panels and rocaille molded foot.
Hall mark, 1766. Maker’s mark, DS & RS.
Total height, 26 inches.
34—GILDED AND SILVERED MIRROR Renaissance Style
Oval molded frame, both sides alike; finished in oxidized silver. Trimmed at
quarters with masks of cupidons.
Height, 12 inches.
pb " 35—REPOUSSE SILVER PLAQUE Renaissance Style
Lobed oval, with scroll piercings at quarters. Center with subject, “A Roman
Triumph.”
Length, 2114 inches.
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YY 36—TWO SILVER-PLATED CANDLESTICKS
Italian Eighteenth Century
Triangular-sectioned baluster shaft. Enriched with scrolled arabesques, husk
drops and leafage. Scrolled foot, with medallion, “Virgin and Child,” and
claw feet. Tall candles for same.
Height, 40 inches.
37—REPOUSSE SILVER SACRISTY MIRROR
Flemish Early Eighteenth Century
Scrolled oblong frame. Enriched with central cartouches, leafage, vase of
flowers and supporting cupidons. Gilded, scrolled and hinged support.
Height, 13% inches.
MISCELLANEOUS OBJECTS
5:
4° 383 GILDED TOOLED MISSAL COVER Italian Renaissance
Oblong, enriched in gilded tooling with scrolled border, corners, and diamond
center panel with cartouched papal coat-of-arms.
Height, 17 inches; width, 11 imches.
Ser
\" 39 ENAMELED EBONY CASKET Italian Renaissance Style
Molded oblong domed top; front enclosed with two doors; long drawer in
base. Interior fitted with niched drawers. Enriched with silver enamel
figure of warriors and scrollings.
Height, 16 inches; width, 12 inches.
ts a ee ore ct eae eae 4a
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3 40—CARVED IVORY HORN Renaissance Style
Conventional shape, with oblong section. Enriched on face with subject,
“Roman Warriors at Combat.” (Imperfect)
Length, 12 inches.
ee 41—CARVED IVORY HORN Flemish Renaissance Style
Small powder-horn. Carved with two hounds attacking a bear. Terminat-
ing in hound’s head.
Length, 814 inches.
15° 42—-LONG CARVED IVORY DOUBLE HORN Louis XIV ‘Style
Elaborately carved with subjects, “Stag Hunting and Hawking.” Finished
at head with satyr masks.
Length, 474% inches.
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483—SILVER-MOUNTED IVORY TANKARD Renaissance Style
Truncated form. Sculptured with “Bacchanalian Scene” and scrolled handle.
Mounted with cupidons and scroll silver lid and foot. (Deep crack in body.)
Height, 8 inches.
BEAUTIFUL OLD TEXTILES AND EMBROIDERIES
OF THE SIXTEENTH, SEVENTEENTH AND EIGHTEENTH CENTURIES
a GOLD-EMBROIDERED MATS
Italian Seventeenth Century
Small squares; enriched in raised gold threads on tan silk with coats-of-arms
amid scrollings.
30
* 45—GOLD BROCADE COVER Lows XVI Period
Blue field. Woven with scrollings of flowers in gold. Trimmed with gold
lace.
Length, 18 inches; width, 17 inches.
ee ‘46—BLUE BROCADE TABLE COVER _ Persian Seventeenth Century
Rich old blue, woven with series of finely varied sprays of blossoms in crim-
son, ivory and greens. Yellow border in light colors developing scrollings of
stellate flowers.
Length, 28 mches; width, 27 inches.
J
47—CIRCULAR ROSE-CRIMSON VELVET COVER
Italian Seventeenth Century
Rich-pile velvet, trimmed with gold galloon.
Diameter, 19 inches.
O;
i 48—ROSE-CRIMSON VELVET COVER Italian Seventeenth Century
Similar to the preceding.
Length, 32 inches; width, 18 inches.
40. |
49—ROSE-CRIMSON VELVET COVER Italian Seventeenth Century
Similar to the preceding.
Length, 25 inches; width, 13 inches.
35
50—ROUND ROSE-CRIMSON VELVET COVER
Italian Seventeenth Century
Similar to the preceding.
Diameter, 201% inches.
60.
51—GOLD-EMBROIDERED VELVET COVER Italian Renaissance
Rich wine-red velvet, embroidered with Gothic scrollings of leafage. Trimmed
with gold galloon.
Length, 20 inches; width, 174 inches.
OF
52—GOLD-EMBROIDERED DAMASK COVER Italian Renaissance
Enriched with intricate stellate motive in gold toward crown. Trimmed with
gold lace.
22 inches square.
583—GOLD BROCADE COVER Persian Seventeenth Century
Rich crimson. Woven in blue and gold with infloretted lotus motives.
28 imches square.
goo:
54—GOLD-EMBROIDERED BLUE VELVET COVER
Italian Renaissance
Enriched with four circular floral medallions interrupted by scrollings of
Gothic leafage.
Length, 69 inches; width, 81% inches.
)70-
55—GOLD-EMBROIDERED VELVET BAG [Italian Seventeenth Century
Lustrous flame red velvet; enriched in raised threads of gold with irregular
scrolled borders bearing panels of pomegranates and floral motives. Trimmed
with gold galloon. Length, 16 inches; width, 5 inches.
g0. 56—GOLD-EMBROIDERED VELVET BOX Italian Renaissance
Oblong. Covered in rich crimson velvet skilfully embroidered in gold threads
with facing birds, lotus blossoms and scrollings.
2
Height, 614 inches; length, 18 inches.
oO.
he 57—GOLD-EMBROIDERED BLUE SILK COVER
Persian Seventeenth Century
Ciel-blue silk; enriched with dainty scrollings of flowers in mellow-toned silks;
ground with many gold paillettes. Trimmed with multicolored silk fringe.
Length, 24 inches; width, 21 inches.
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hg 58—TWO RAISED GOLD-EMBROIDERED VELVET CUSHIONS
Italian Seventeenth Century
Oblong. One with beribboned wreath of flowers; other with two lions sup-
porting a coronet canopying an inscription. Deep wine-red velvet.
Ie Length, 191% inches.
bei ,
9—GOLD-EMBROIDERED IVORY SATIN CUSHION
French Eighteenth Century
Oblong, with pocket near crown. Enriched with oval center medallion
initialed H. B. U., scrolled medallion border and tulips, wheat and sunflowers
in lower corners. ‘Trimmed with gold fringe.
J 60—GOLD-EMBROIDERED IVORY SATIN CUSHION
French Eighteenth Century
Oblong. Daintily enriched in gold thread and paillettes with oval wreathed
monogram B. S. S., tulip and ribbon border and corners. Trimmed with
gold fringe and tassels. Above the monogram is pocket for book or sewing.
Pe ae
0.
ao 61—TWO RENAISSANCE TAPESTRY CUSHIONS
Flemish Seventeenth Century
Square, one woven with fruit and flowers; other with varied clustered fruits.
Executed in rich crimson, blue, greens and yellows. Trimmed with multi-
colored fringe.
Les
i j 0 ; / 30°
62—TWO RENAISSANCE TAPESTRY CUSHIONS
Flemish Seventeenth Century
Similar to the preceding.
$—GOLD-EMBROIDERED LAVENDER DAMASK CHALICE
COVER Italian Eighteenth Century
Square, with four-lobed medallion; enriched with scrollings of dainty flowers
and central motive of a pierced heart.
1114 inches square.
7°: 64 SET OF BROCADE ARMCHAIR COVERS Louis Philippe Period
Consisting of six oval backs, six large seats and twelve arms. Rich crimson
satin ground, woven with scrolled conventionalized bouquets of fruit and
flowers in green, deep crimson and ivory.
7 &: 65—TWO PRELATES’ COATS-OF-ARMS Italian Seventeenth Century
Scrolled escutcheon in cloth-of-gold bearmg five mounts and tree. Mantled
with a tasseled green cardinal’s hat. One on old-red velvet.
p74? S6=—TWO GOLD-EMBROIDERED PAPAL COATS-OF-ARMS
Itahan Seventeenth Century
Crimson velvet escutcheon, bearing three mounts and stellate device above.
Richly scrolled in highly modeled gold threads. Surmounted by a papal tiara
and crossed keys. One on old-red velvet.
uti BLUE BROCADE MANIPLE Louis XVI Period
Enriched with bouquets of flowers in soft pinks and crosses of silver galloon.
JO 68—GOTHIC GOLD CISELE VELVET STOLE
Italian Sixteenth Century
Ruby-crimson velvet, enriched with floral motives on gold grounds. Finished
with blue silk edge and fringe.
/°: 6>—TWO EMBROIDERED CHALICE COVERS
Italian Eighteenth Century
Ivory silk, enriched in gold threads and colored silks with floral scrollings.
9 inches square.
i
LS.
70—GOLD-EMBROIDERED MISSAL COVER
French Eighteenth Century
Rose-du-Barry silk. Enriched with symbolic cartouches, surrounded by:
scrollings in gold threads; one surmounted by a coronet, the other by a car-
dinal’s hat. Beautiful floral scroll border in gold.
Length, 12 inches; width, 9% inches.
Zo. 71—GOLD-EMBROIDERED CRIMSON SILK CHALICE COVER
Louis XVI Period
Deep rose-crimson silk; enriched with medallioned sacred monogram in the
center, emitting bouquet of loose flowers. Similar borders and corners.
26 inches square.
40. 72—SILVER AND GOLD EMBROIDERED CHALICE COVER
Louis XIV’ Period
Rose-crimson silk; enriched with small medallioned sunburst; floral corners
and finely lambrequined and scrolled border in solid threads. ‘Trimmed with
gold embroidery simulating galloon.
20 mches square.
20, 73—JEWELED GOLD-EMBROIDERED WAFER HOLDER
Italian Seventeenth Century
Ivory satin. Enriched with jeweled floral medallion and corners in dainty col-
ored threads and gold. Trimmed with silver galloon and silk tassels.
LF 74—GOLD AND SILVER EMBROIDERED WAFER HOLDER
Italian Sixteenth Century
Crimson satin. Finely wrought in raised gold threads with central mono-
grammed rondel; finished with two varied borders of Gothic leaf scrollings.
Trimmed with tassels.
¥0. %75—GOLD AND SILVER EMBROIDERED MISSAL COVER
Italian Seventeenth Century
Pale blue watered silk. Enriched with jardiniére of tulips and other flowers.
Executed in solid threads of silver and gold. ‘Trimmed with galloon.
Length, 12 inches; width, 81% iches.
40.
40.
76—GOLD-EMBROIDERED IVORY SILK CHALICE COVER
Italian Sixteenth Century
Square. Enriched with rayed Greek cross, surrounded by dainty scrollings of
flowers in colored silks. Trimmed with gold galloon.
11 inches square.
. 77—GOLD-EMBROIDERED CHALICE COVER
Italian Seventeenth Century
Plum-purple silk. Enriched with lobed medallion in gold threads, displaying
pierced heart amid scrollings. Trimmed with gold galloon and tassels.
783—GOLD-EMBROIDERED CHALICK COVER
Italian Seventeenth Century
Silver thread ground; displaying a cruciform motive and fleurs-de-lis in raised
gold and blue silk. Dainty infloretted waving gold ribbon border.
79—GOLD-EMBROIDERED CHALICE COVER
Italian Seventeenth Century
Similar to the preceding.
80—GOLD-EMBROIDERED SILVER LACE CHALICE VEIL
Spanish Highteenth Century
Square. Enriched in varied stitches of gold threads and colored silks with
cartouched monstrance, sacred monogram A.M, gold scrollings and sprays of
flowers.
22 inches square.
81—GOLD-EMBROIDERED IVORY SATIN PENCE BAG
Italian Seventeenth Century
Circular. Enriched, in colored silks, with large central flower emitting sprays
and smaller blossoms.
82—GOLD-EMBROIDERED VELVET PANEL
Italian Siateenth Century
Flame ruby velvet. Enriched with two cardinals’ coats-of-arms interrupted
with scrollings and surmounted with sacred monograms, I.H.S. and AM.
Finished with Gothic scrolled border in which interesting passages of blue silk
occur.
Length, 25 inches; width, 22 inches.
Hsp (Covet 2 BIS.
SILLS te Coe eee ee
~ RCO ee oO
: : as Ot a ae ae
noe
GOLD AND SILVER EMBROIDERED SAPPHIRE-BLUE
VELVET CAPE Spanish Highteenth Century
83
Semicircular. Lustrous deep sapphire-blue velvet; richly bordered in raised
gold and silver with intricate conventionalized scrollings, finished with double
displayed eagles at center of crown and foot.
Length, 45 inches; depth, 28 inches.
om
uy 84—_ GOLD NEEDLE-PAINTED ORPHREY Italian Renaissance
Rose-crimson velvet. Enriched with two oval medallions occupied by figures
of Saints Lorenz and Christopher, standing in landscapes; finely executed in
colored silks and gold threads. Interrupted by acanthus-leaf scrollings in ap-
pliqueé silks. Length, 48 inches; width, 10 inches.
(0°35, GOLD NEEDLE-PAINTED PANEL Italian Renaissance
Seated figure, wearing bishop’s mitre. Within a scrolled crimson silk oval.
Height, 17% inches; width, 14 inches.
3 36 GOLD-EMBROIDERED BONNET Italian Seventeenth Century
Ivory satin. Enriched with scrollings of varied flowers in colored silks and
gold threads. Trimmed with gold lace.
Ds
f4 87—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET DRESS
Spanish Seventeenth Century
Lustrous, fine-piled sapphire velvet, with rich paler gemlike areas. Embroid-
ered in raised gold threads with border at foot, displaying scrollings and re-
versed cornucopias of dainty flowers.
Approximate length, 3 yards 2 inches; depth, 1 yard 14 inches.
0.
88—GOLD-EMBROIDERED SAPPHIRE-BLUE CAPE
Spanish Highteenth Century
Semicircular, with small collar. Lustrous fluctuating sapphire-blue velvet.
Enriched with scrollings and panels in gold and silver, emitting sprays of
tulips in colored silks. ‘Trimmed with silver lace.
Length, 25 inches; depth, 16 inches.
a geteg.s
89—TWO GOLD-EMBROIDERED CRIMSON VELVET PANELS
Italian Renaissance
po
Ruby velvet of close pile and lustrous quality; embroidered in gold and sil-
ver with scrolled Gothic leafage. Trimmed with gold embroidery simulating
galloon. Length, 8 inches; width, 21 inches.
gow”
rye 90—TWO GOLD-EMBROIDERED CRIMSON VELVET PANELS
Similar to the preceding.
cake
91I—TWO GOLD-EMBROIDERED VELVET BANNERS
ie Spanish Seventeenth Century
Flame-rose velvet; enriched with appliqué cloth-of-gold displaying scroll-pan-
eled bouquet of flowers. Trimmed with silver galloon and deep gold fringe.
Height, 29 inches; width, 22 mches.
2—GOLD-EMBROIDERED OLD-ROSE SILK COVER
ok Italian Seventeenth Century
Fluctuating old-rose silk; enriched in raised solid gold stitches, displaying
palm and floral scrolled center, ends and scrolled leaf and vine border.
Trimmed on three sides with lattice fringe.
Length, 44 inches; width, 16 inches.
70°
is 93—CRIMSON CISELE VELVET PANEL Venetian Gothic
Heavy close piled flame-rose velvet; ciselé with delicate lobes surmounted and
enclosing pineapple motives. ;
& I PI Height, 50 inches; width, 30 inches.
ae ertete GOLD-EMBROIDERED IVORY SILK COVERS
Louis XV’ Period
Deep ivory silk, enriched in colored silks and gold threads with floral and
pineapple motives interrupted at foot with a coronetted coat-of-arms.
Trimmed with deep wave and fan patterned gold lace.
oe Y Length, 61 inches; width, 14 inches.
we)
Done 95—FIVE GENOESE CUT-VELVET COVERS Sivteenth Century
Rich flame-rose, cut and uncut velvet; displaying scrolled bouquet of beau-
tiful flowers on a golden yellow ground. Rosette and scrolled ribbon border.
Length, 31 inches; width, 27 inches.
5. 3
b‘96GOLD-EMBROIDERED CRIMSON SILK COVER
Italian Sixteenth Century
Rich rose-crimson satin; adorned with gold sunburst center surrounded by an
entwined wreath of varied dainty flowers in colored silk; similar scrolled cor-
ners. ‘Trimmed with fine crimson and gold Vandyke lace.
Length, 35 inches; width, 34 inches.
a Le
St oN CUT-VELVET COVER Genoese Seventeenth Century
Richly cut crimson on golden-yellow silk ground, displaying elaborated
scrollings of leafage with pendent flowers. ‘Trimmed with gold galloon.
Length, 41 inches; width, 25 inches,
Lut-
98—GOLD AND SILVER EMBROIDERED IVORY ~ SILK
PANEL French Seventeenth Century
Corded ivory silk; lavishly enriched with monstrance surrounded by rare
scrollings of pailletted silver and gold threads emitting sprays of varied flow-
ers in colored silk. Trimmed with silver lace.
Height, 40 inches; width, 30 inches.
aod 99—EKIGHT LENGTHS ROSE-RED VELVET
Italian Seventeenth Century
Heavy pile; lustrous rose-red velvet, with very radiant flame-like areas.
Approximately, 35 yards; width, 19 inches.
Ce 100—FIVE LENGTHS OF CRIMSON DAMASK
c Italian Sixteenth Century
Rose-red two-toned silk; woven with infloretted vase-like and canopying acan-
thus leaves alternately supporting and sheltering large pomegranate motives
and bouquets of flowers.
Approximate length, 36 yards; width, 20 inches.
101—TWELVE LENGTHS OF CRIMSON BROCATELLE
,, 60 We Italian Sixteenth Century
/
Two-toned rose-crimson; woven with deeply scrolled ogivals alternately occu-
pied by rare vases of infloretted flowers and large bouquets of similar flowers.
Hixtra wide weaving. Approximately, 92 yards; width, 30 inches.
j/9- 102—FOUR LENGTHS OF CRIMSON BROCATELLE
Italian Sixteenth Century
Two-toned rose crimson silk; woven with acanthus-leaf ogivals enclosing
lotus-like bouquets.
Approawimate length, 1444 yards; width, 1914 inches.
/1083—EMBROIDERED RED LINEN COVER
ce Spanish Siateenth Century
Rare old-red linen; embroidered in soft blue, yellow, pink and green silks.
with blossomed diapered trellis occupied by quaint jardinieres of flowers, in-
terior border displaying black double-displayed eagles interrupting vases on
which facing birds are perched. Double diamond and rosette motived outer
border. Trimmed with multicolored fringe.
Length, 105 inches; width, 92 inches.
6.6 104A—EMBROIDERED CRIMSON VELVET COVER
Spanish Sixteenth Century
Rich flame rose velvet; adorned with all-over S-scrolling enclosing floriated
cruciform motives in appliqué yellow, green and blue silks with passages of
LE Ss Length, 47 inches; width, 18 inches.
ne 105—ROSE-RED CUT-VELVET PANEL Genoese Seventeenth Century
Lustrous soft pile; displaying jardiniére of fruit surmounted by a large bou-
quet of conventionalized flowers. Height, 52 inches; width, 22 mches.
Ife
ve 106—GOLD AND SILVER EMBROIDERED VELVET COVER
\ Persian Seventeenth Century
Ruby-crimson velvet; embroidered in gold and silver threads with passages of
blue, coral and green; displaying an inscribed central medallion surrounded
by floral sprays. Similar scroll border and guards. Trimmed with multi-
colored fringe. Length, 58 inches; width, 39 inches.
a
\7" 107—-GOLD-EMBROIDERED IVORY SATIN COVER
Italian Seventeenth Century
Circular. Skilfully embroidered in rich harmonious colored silks with golden
medallion enclosing a bowknotted cruciform bouquet of lovely flowers. Sur-
rounded by two broad borders of similar scrolled flowers, parted by rope
motived gold bands. Diameter. 7 aeeeee
(tos ROSE-CRIMSON BROCADE COVER Lows XVI Period
Damassé ground; woven in rich colors with tasseled and ribboned bouquets
of flowers. Shaped oblong. ‘Trimmed with gold galloon.
Length, 53 inches; width, 21 inches.
. a ;
109—GOLD AND SILVER EMBROIDERED VELVET COVER
Persian Sixteenth Century
pe?
Deep wine-red velvet; ruglike motives, displaying scrolled diamond medal-
lion of silver scrolled with all-over lotus blossoms with perched birds, in gold
touched with passages of blue and pink. Rosette and scroll border; executed
in similar manner. ‘Trimmed with multicolored fringe.
Length, 42 inches; width, 34 inches.
y 0° “110—CRIMSON DAMASK HANGING Italian Sixteenth Century
Composed of eight breadths. Woven with deeply scrolled acanthus-leaf ogi-
vals occupied by highly conventionalized bouquets of flowers.
Length, 6 yards; depth, 1 yard 10 inches.
a
6° 111—GOLD AND IVORY BROCADE COVER
. French Eighteenth Century
Ivory ground; damassé with trailing ribbons, interlaced with sprays of flow-
ers in colored silks. Trimmed with gold lace.
Length, 42 inches; width, 23 inches.
ce
Bel? 112—GOLD-EMBROIDERED CRIMSON VELVET COVER
Spanish Renaissance
Lustrous rose-crimson velvet of fine radiance; enriched in appliqué golden
drap @or and patterned galloon with large-rayed cruciform motive and scroll-
ing floral and husk border. ‘Trimmed with gold galloon and fringe.
Length, 106 inches; width, 99 inches.
bo A
1183—GENOESE CUT-VELVET LAMBREQUIN Sixteenth Century
Rose-crimson, cut and uncut velvet; displaying scrolled flowers on a soft
yellow silk ground. Trimmed with crimson lattice fringe.
Length, 56 inches; depth, 22 inches.
eae
7 114—ROSE-CRIMSON DAMASK COVERLET
Italian Sixteenth Century
Lustrous two-toned silk; woven with elaborate harp-shaped motives of husks
and leaves enclosing jardiniéres of tulips. Deep box flounce, trimmed with
edging and crimson fringe.
Total length, 105 inches; width, 100 inches; depth of flounce, 14 inches.
p-15—GOLD AND SILVER EMBROIDERED VELVET BORDER
Italian Sixteenth Century
Rose-crimson velvet, with scrolled Vandyke points. Enriched with leaf
scrollings and sprays of conventionalized pineapples and husks in heavily
raised threads of silver and gold.
Length, 67 inches; width, 41% inches.
116—GOLD-EMBROIDERED CRIMSON VELVET LAMBREQUIN
/4 0 - Spanish Renaissance
Seven Vandyke points. Rich flame-crimson ciselé velvet. Enriched in ap-
pliqué yellow cloth-of-gold with highly conventionalized bouquets of flowers.
Trimmed with gold galloon and deep fringe.
Length, 126 inches; depth, 28 inches.
9 °'117—ROSE-CRIMSON VELVET LAMBREQUIN Gothic Period
Seven Vandyke points; rare rose-crimson velvet with charming paler areas.
Enriched in gold galloon of the period with scrollings terminating in fleur-de
lis motives and border. Trimmed with deep gold thread fringe.
d
Length, 142 inches; depth, 23 inches.
4 4 0 ~ 118—FOUR DRAP D’ ARGENT VELVET LAMBREQUINS
Genoese Seventeenth Century
Scalloped at foot. Rose-crimson cut and uncut velvet, displaying bouquets
of fine flowers on a cloth-of-silver ground.
Respective sizes: Lengths, of two, 84 inches, (others) 60 inches and 72
inches; depth, 24 inches.
gut 19—TWO ROSE AND YELLOW BROCATELLE PORTIERES
Italian Siwteenth Century
Soft old-rose. Displaying rare infloretted bouquets of flowers amid scroll-
ings. J inished at crown with scallop lambrequin. Trimmed with gold fringe.
Length, 3% yards; width, 1 yard 6 inches.
55 - 120—TWO CRIMSON DAMASK PORTIERES
Italian Renaissance Style
Ilame-red, two-toned silk. Woven with large highly conventionalized bou-
quets of varied flowers.
Length, 2 yards 15 inches; width, 22 inches.
121—REPOUSSE SILVER VASE By Tiffany
ae
ike Inverted pear-shape, with incurved neck and spreading stellate dome foot.
Enriched on shoulder and neck with series of the backs of shrimps having
enameled scales; lower portion with scrolling arabesques.
Height, 6 inches.
122—TWO REPOUSSE SILVER VASES By Tiffany
Ee: pe LHlongated inverted pear-shape, with short incurved mouth and scroll-waved
“A round foot. One enriched with closely placed snails naturalistically wrought;
the other with tortoises similarly placed.
Height, 10%@ inches.
ITALIAN AND OTHER BRONZES OF THE SEVENTEENTH AND
EIGHTEENTH CENTURIES
Fs 129—TWO JEWELED GILDED FIGURINES Renaissance Style
“Robed Prophet.” With band of turquoise jewels around neck.
Height, 5 inches.
35 130—BRONZE FIGURINE Egyptian Second Century B.C.
Quaint standing figure of a man, wearing long fool’s cap.
Height, 514, inches.
131—PAIR OF GILT BRONZE “CUPIDS”
oes One is winged and has the left raised and carries a quiver case. The other,
masquerading as Mercury, wears a petasus and holds a scroll in his right
“< hand. Each is seated on an ebony plinth.
Height, each, 44% inches.
132—BRONZE ORNAMENT OR PAPERWEIGHT
ae Full-length figure of Eros, seated on the drapery of his pillowed couch, from
which he has just risen. Soft patina.
Length, 6 inches.
133—PAIR BRONZE CLASSICAL BUSTS
0.
2d 4 x” Soft blackish patina. Mounted on marble pedestals.
Height, complete, 9 inches.
134— LEIGH TEENTH CENTURY ITALIAN BRONZE STATUETTE
A paper weight modeled after the famous statue of the “Dying Gladiator”
49 : in Rome. On a white marble base.
Height, 4 inches.
185—SMALL ANTIQUE BRONZE BOWL
a The body, fluted and supported by three griffins couchant. (Feet of one in-
lo jured. )
Diameter, 4 inches.
1386—FOUR GILDED BRONZE EWERS Italian Eighteenth Century
Sue : 5° Triangular, spirally fluted. Enriched with leaf motives and open scrolls.
Height, 334 inches.
137—PAIR OF EIGHTEENTH CENTURY ITALIAN BRONZE
90 : a FIGURES OF WINGED GREYHOUNDS
Standing on their hind legs; their front paws supported on tree trunks.
Height, 8% inches.
1388—TWO GILDED BRONZE STATUETTES
40
or Italian Seventeenth Century
“Angels.” Kneeling figures voluminously robed. On oblong bases.
Height, 4 inches.
§.189—TWO BRONZE STATUETTES Italian Renaissance
BG yv*Sphinxes.” Conventional winged, standing figure. Deep, brown-black
1 patina.
Length, 4 inches.
£°40—BRONZE BUST Greco-Roman
(1: “Venus.” Wearing hair confined by a fillet and low-cut robe. Rich green
patina.
Height, 414 inches.
141—ITALIAN EIGHTEENTH CENTURY GILT BRONZE GROUP:
20 “THREE ANGEL HEADS”
One placed higher than and between the other two. The wings extended.
The motif is clearly derived from Raphael’s “Sistine Madonna.” On a red
velvet mount. Width, 7 inches.
142—BRONZE HEAD OF BACCHUS By Apollon
Oectkt A youthful Bacchus wearing a chaplet of gilded vine leaves in his hair. Dull
greenish patina. Signed, “A. Apolloni. Roma.” On round rosso-antico
marble pedestal with square black base.
Height, 10 inches.
143—ITALIAN EIGHTEENTH CENTURY BRONZE HEAD OF A
CHERUB
BD,
With curly hair and outspread wings. Clearly derived, but not copied, from
Raphael. On a red velvet mount.
Height, 61% inches.
144—TWO GILDED BRONZE FIGURINES Directoire Period
. Graceful lightly draped figure of nymph wearing a garland of roses on her
for brow; finished in golden-green bronze and seated on gilded rustic tree stump.
On statuary marble circular molded base, with bronze moldings and feet.
oe
Height, 11%4 inches.
145—PAIR OLD BRONZE CANDLESTICKS
Be Spindle standards entwined by vines chiseled in low relief on a stippled
34" ‘ground, and surmounted by three goats’ heads and bunches of grapes in high
relief, the whole supported by ramping lions holding in their claws ball feet.
Height, 12 inches.
146—BRONZE AND STEEL COFFRET Flemish Seventeenth Century
3°' Oblong, with arched, hinged cover. Enriched with all-over open leaf scroll-
ings and strap arabesques. On ball feet.
Height, 5 inches; length, 6% inches.
147—ITALIAN BRONZE STATUETTE
TEP Figure of a mermaid with bifurcated tail, a chaplet of ivy leaves in her hair,
which streams in the wind as she rides across the waves. Deep rich brown
back patina. ‘The waves represented by modeled composition in ivory.
Total height, 121% inches.
- 148—GILDED BRONZE STATUETTE French Eighteenth Century
“Cupidon.” Seated, declaiming; broadly chiseled. Very fine patina.
pe)
Height, 1234 inches.
149—TWO GILT BRONZE FIGURES OF ANGELS
/ YO, The Angels are winged. One looks upward, the other downward. Each is
7 62.enveloped in a flowing drapery. Placed on a red velvet easel.
Height, 10 inches.
150—BRONZE FIGURE Directoire Period
“Stork and Serpent.” A serpent is coiled round the leg of a stork that stands
on the back of a tortoise. On square block marble base.
Height, 9 inches,
151—EIGHTEENTH CENTURY ITALIAN BRONZE DOOR
KNOCKER
0
34°. The head of a Satyr grasping from behind the horns of a bull. The hind
quarters of the Satyr terminate in acanthus leaves. Placed on a red velvet
mount.
Height, 10 inches.
0 F 3 Dik Lo
? 152—PAIR OF OLD ITALIAN GILT BRONZE “CENTAURS”
The male holds Pan pipes to his mouth. The female has cymbals in her ex-
tended hands. On an oval Siena marble base.
Height of each figure, 8 inches.
Height of each base, 14% inches; width, 10 inches.
a
i.) ae ae
93° 153-KIGHTEENTH CENTURY ITALIAN BRONZE PLAQUE, OR
PANEL: “A BANQUET OF THE GODS”
Around a table, on which are seen plates with various fishes, are seated the
principal Divinities of Olympia. In the center are seen Diana and Apollo;
at the left are Pluto, a Nereid and Neptunus, and at the right, Mercury,
Mars and Venus. The personage seated in front, whom Apollo points out to
Jupiter, seen in the clouds with his eagle, is unidentified. From the far dis-
tance, at the left, advance two personages in long robes, while Jupiter de-
scends from the clouds. On a red velvet mount.
154—PAIR SILVER AND GILT WALL PLAQUES
vy Medallions of Joseph and Mary at half-length, surrounded by cherubim.
41 ale Length, 10 inches.
155—ITALIAN BRONZE MORTAR
- With tapering sides, each of which is ornamented with an escutcheon flanked
ee by ribbons; one, charged with an emblematic device of a Cross placed above
three cime and the other uncharged. Loop handles, formed of acanthus leaves.
The rim and base decorated with classical designs.
Height, 7 inches; diameter at neck, 84% inches.
156—BRONZE STATUETTE
49 : Standing figure of Caesar, in chiseled armor, right hand upraised, gripping
his sword. Blackish patina. On oval gray marble base.
Height, 10% inches.
157—BRONZE STATUETTE
0: Full-length figure of a female standard bearer. Poised on her right foot,
she holds in her extended hands an unfurled banner.
Height, 11% wmches.
158—PAIR OF ITALIAN BRONZE ANGELS
q es Winged and wearing a gilt drapery, full length, and on a plinth covered
Be ol Greet
with red velvet. Height, 11 inches; plinth, 4 inches.
159—GILDED BRONZE FRAME Italian Renaissance
yp ; Molded oval frame. Enriched with heads of amorini at quarters, interrupted
by leaf-scrolled apertures for miniatures. Shell motive for suspension.
Height, 914 imches.
4 160—CHINESE BRONZE CENSER Ming Period
Oblong, with flanged covers, upright lug handles; similarly flanged canted
dome cover having square apertured terminal. Enriched with archaic ani-
malistic scrollings. Black patina. On high round legs and carved stand.
Height, 65 inches.
190.
161—CHINESE CLOISONNE VASE Ming Period
162—
Square bottle-shape; enriched on turquoise-blue grounds with bandings of
cloud scrolls interrupting scrolling floral panels, leaf motives and “Show”
marks. Rudimentary appliqué T’ao-t’ieh ogre-head and ring handles.
Mounted in cuivre doré with gadroon and ribbon moldings at crown, egg and
dart moldings at foot with chimeric dragons as feet.
ITALIAN CUIVRE DORE STRIKING TABLE CLOCK
Seventeenth Century
Rectangular, enriched with rare strap arabesque scrollings, fruit and satyr
masks. Supported by caryatids at corners and harpies at foot. Pierced dome
cover similarly adorned to body, with scrolled harpies at corners; surmounted
by figure of a warrior. Two extra engraved dials.
Height, 121% inches.
163—CHISELED CUIVRE DORE TABLE CLOCK [Italian Renaissance
5/ Oo.
Architectural Temple form. Rectangular, with scrolled openwork dome ,
having sphinxes at four corners and surmounting figure of a youthful warrior.
Supported on demi-nymphs and enriched Ionic pilasters. ‘The panels adorned
with masks and finely arabesqued floral scrollings; engraved steel dial.
Spreading molded base broken round pilasters and there resting on the backs
of four sphinxes.
Height, 121% inches.
164—PAIR OF ANTIQUE BRONZE STATUETTES OF “VENUS”
Each is standing and leaning forward. One, with a tall amphora at her right
<0. side, holds a drapery in her right hand. The other is attaching the sandal on
“her left foot; a dolphin encircles the fountain at her left side.
ae
Height, ‘7 inches.
165—PAIR FLORENTINE GILT BRONZE ANIMAL STATU-
ee ETTES
$ ie Lions seated on their haunches, and guarding shields each with a different
device.
Height, 8% inches.
166—TWO BRONZE FIGURINES Italian Eighteenth Century
joo.
ree
“Apollo and Daphne.” Apollo standing with body swaying somewhat in
lassitude after his discomfiture in his race with Daphne; his mantle has not
been resumed, one end being gathered in left hand, the other thrown over
shoulder; behind him partially seen is a symbolic stump of laurel tree.
Daphne swaying, but with different emotion to Apollo, for she hesitates to
cast aside her robes in order to be unfettered in her escape from her unwel-
come lover, Apollo. Her long hair, so often referred to in her race, falls over
one shoulder to her breast. Original rich black patina, with gray-yellows on
high lights.
Heights, 13% inches and 13 inches.
»
167—TWO ANTIQUE BRONZE STATUETTES
y On Venus, standing nude, with right leg advanced and her left arm raised.
y)
0 Me Hercules, his left leg advanced. With both his hands he holds his club under
Me his left arm. Standing nude. On ebonized plinth.
Height of statuettes, each, 10 inches.
168—TWO BRONZE CANDLESTICKS Italian Renaissance
go t Balustered shaft, with urn-shaped socket. Enriched at crown with three
) yamorini heads above gadroonings and lobed oval medallions, below center
\4 with three seated putti and scroll-bracketed masks. On open scrolled and
festooned tripod base having seated demi-putti over the arched feet.
Height, 12 inches.
(Illustrated)
169—EIGHTEENTH CENTURY ITALIAN BRONZE _ BUST:
“JULIUS CAESAR”
PQ * In classical tunic with a drapery fastened with a brooch on the right shoul-
der. The head turned slightly toward the left; the face wears an earnest
expression. He is crowned with a laurel wreath. Name inscribed below the
bust. Placed on a hollow mottled red porphyry and yellow Siena marble
pedestal.
Height of bust, 121% inches; of base, 9 inches.
This bust was made after a sixteenth century model. There are many of them
extant from this period. Among them there are those by Alessandro Vittoria in Venice,
by Ludovico Lombardi in the Lichtenstein Gallery in Vienna, etc.
(Illustrated)
(Aanjuay yzueaqybry uvyv7y) UVSAVO AO LSAT AZNOUA—69L ‘ON
(20unssipuay wnryrIT) SHOLLSHAIGNVO AZNOUM OML—89L ON
170—ANTIQUE ITALIAN BRONZE STATUETTE
Go ‘ An Amazon, in close-fitting dress and feminalia. Holding a spear, the butt
end of which rests on a helmet that lies on the ground. On a carved and gilt
base of later period.
Height, 101% inches; of base, 3% inches.
171—SIXTEENTH CENTURY ITALIAN BRONZE EWER
0° ‘ Grooved neck and stem, and grooved and curved handles which terminate in
a mask. On the front a spout formed of the upper part of a winged, fan-
tastic creature.
Height, 15 inches.
From the Bardini Sale, 1918.
72—PAIR OF ITALIAN BRONZE FIGURES
The male figure stands erect, his right hand on his hip; his mantle falls from
the left shoulder on to the left forearm. A tree-trunk by his right side. The
female figure, in great part draped and gathering up the drapery in her left
hand; her right hand is across her breast.
Heights, 1314 and 1234 inches.
"173 -ANTIQUE BRONZE ALTAR CANDLESTICK
Slender in form and on a curved tripod base; provided with an urn cup and
a saucer. Wired for electricity.
Height, 4 feet 10 inches.
174—PAIR OF ANTIQUE BRONZE HALF-FIGURE STATU-
[0 yw ETTES OF CUPIDS
Their hands raised above their heads.
Height, 18% inches.
Dep 5
=
49,
SECOND AFTERNOON'S SALE
THURSDAY, APRIL 5, 1923
IN THE ASSEMBLY HALL
OF
THE AMERICAN ART GALLERIES
BEGINNING AT 2.30 O'CLOCK
CATALOGUE NUMBERS 191 TO 343, INCLUSIVE
BEAUTIFUL SAXE AND SEVRES PORCELAIN OF THE
EIGHTEENTH CENTURY
19I—DECORATED SAXE PORCELAIN BONBONNIERE
Eighteenth Century
“White Mouse.” Cover hinged at base; painted with cat and mouse; interior
painted with flowers. Mark: crossed swords.
Length, 244 inches.
fb eo
192—TWO SAXE PORCELAIN FIGURINES Eighteenth Century
“Recumbent Lions.” Heads toward the ground, anticipating the approach
of an enemy. Fine broad modeling. Rich ivory-white glaze.
Length, 2g inches.
193—SEVRES BISQUE PORCELAIN GROUP _ Eighteenth Century
“Leda and the Swan.” Lightly draped graceful figure standing before
rushes and the swan.
Height, 10 inches.
.
194—DECORATED SAXE PORCELAIN BONBONNIERE
Eighteenth Century
5 5. “Recumbent Dog with Suckling Puppy.” Hinged cover at foot, painted
with scrollings.
Length, 234 inches.
195—DECORATED SAXE PORCELAIN GROUP Eighteenth Century
0 “Three Cupidons Frolicking.” One stands at left, one reclines about center;
t the other kneels at right, holding sprigs of ivy leaves. On rocaille scrolled
rustic base. Mark, crossed swords in blue under base.
Height, 35% inches.
196—DECORATED HOCHST PORCELAIN FIGURINE
0. Eighteenth Century
3 “The Tired Strolling Player.” Seated asleep, her head fallen on her arm;
she wears a garden hat and has a mandolin by her side. On irregular rustic
base. Mark, blue wheel under glazed foot.
Height, 4144 mches.
197—TWO DECORATED CHELSEA PORCELAIN JARDINIERES
AND TRAYS
5° Flaring oblong body with blue, round laced bamboo corners and scrolled
rustic handles. 'Tray with same contour as jardiniére. Finely enriched with
birds and flowers and gilded blue borders.
Height, 51% inches.
198—TWO DECORATED SAXE PORCELAIN FIGURINES
poses Eighteenth Century
“Youth and Maiden.” Standing, attired in fancy costume. He wears a
Persian turban, flowered pink robe, yellow mantle and high boots; she, a tur-
baned cap and a long rose mantle over a florally brocaded yellow dress, and
carries a flower in her right hand. On blossomed, domed-round ivory bases.
(Turban and cap chipped.)
Heights, 434 and 4 inches.
199 FOUR SEVRES BISQUE PORCELAIN BUSTS
Yb to Highteenth Century
/ 6°. “The Seasons.” Spring, a young nymph with flowers in her hair; Summer,
a nymph with wheat in her hair; Autumn, Bacchic youth with ivy; Winter,
bearded old man with drapery over head and shoulders. Royal blue and
gold square pedestals. Mark, two crossed L’s enclosing F; date 1758.
Height, 47g inches.
200—DECORATED SAXE PORCELAIN GROUP Eighteenth Century
LO. “Cupidon and Psyche.” Little Psyche, seated, wears low-cut yellow bodice
and flowered skirt and carries a garland of small flowers. Cupidon reclines
on her lap making love to his erstwhile mistress. On gilded rocaille scrolled
Height, 54g imches.
-201I—TWO DECORATED PORCELAIN FIGURINES
1 Tees Highteenth Century
7 0. “Flora and Ceres.” Graceful standing figure of Flora bearing a basket of
flowers under right arm and wearing pink and green mantle over ivory bro-
cade robes. Ceres bearing sheaf of wheat over right shoulder, attired in green
and pink robes; a spray of forget-me-nots in her left hand. On gilded
square bases. Mark, scrolled X coronetted over a staff.
Height, 51% inches.
202—TWO SAXE PORCELAIN GROUPS Eighteenth Century
“Swans with Cygnets.” Carefully modeled. Fine white glaze, with bills and
Y ©. “feet painted black, pink and brown. On round rustic base. Mark, violet tri-
angle under foot. (One wing restored.)
Height, 5% inches.
2083—TWO DECORATED PORCELAIN FIGURINES
Eighteenth Century
eae
5°, “Autumn and Winter.” Autumn, a standing figure of a Bacchic youth, his
left arm upraised crushing a bunch of grapes into a cup held in right hand
and wearing a tiger skin round loins. Winter, a lean old bearded man,
standing before a flaming urn and drawing a pink-lined green mantle round
himself. On gilded square base. Mark, a coronetted and scrolled X with cen-
tral staff.
Heights, 64% and 5, inches.
204—_DECORATED HOCHST PORCELAIN FIG-
URINE Highteenth Century
“The Perfume Vender.” Standing figure, attired in yel-
low and blue dress. He carries a box in front, slung from
the shoulders and cries his wares, holding one of the bottles
aloft, pointing grandiosely to its quality. On green rustic
base. Mark, blue wheel under foot. (Restored.)
Height, 7% wmches.
(Illustrated)
205—TWO DECORATED SAXE PORCELAIN VASES, MOUNTED
IN CUIVRE DORE Eighteenth Century
yo Cylindrical, painted with sprays of flowers and winged insects. Supported
yo: by two birds and floral wreath in relief, naturally colored. Mounted in
+” cuivre doré with upright scrolled handles and scrolled base of leafage, blos-
soms and rocaille motives.
Height, 9 inches.
206—DECORATED SAXE PORCELAIN GROUP LHighteenth Century
ae “Alsatian Peasants Dancing.” An animated youth attired in green hat, lay-
4 ender coat, yellow shorts and blue rosetted white stockings, wildly swirls his
loving partner round in a country dance. She is costumed in a frilled blue
low-cut bodice, flying white apron and brocaded skirt. On rustic base. (Re-
stored. )
Height, 57g mches,
5? ‘°207—-DECORATED HOCHST PORCELAIN GROUP
Early Nineteenth Century
“Boy with Dog.” Standing figure, attired in sprigged ivory coat, blue shorts
and mottled gray hat, vigorously pulling dog’s tail; the dog seemingly enjoy-
ing the fun. On irregular green rustic base. Modeled by Dahl. Mark, blue
wheel and D under foot.
Height, 61% inches.
208—DECORATED HOCHST PORCELAIN
FIGURINE Highteenth Century
“The Naturalist Humboldt.” Standing figure of
LS : man wearing gray coat, pale yellow shorts, black hat
and shoes, showing a portfolio of drawings, which
is open at a landscape view in which is a stag. On
irregular round green rustic base. Mark, blue wheel
under foot. (Restored. )
Height, 8 inches.
(Illustrated)
209—BISQUE PORCELAIN GROUP
By Daumont; French Eighteenth Century :
burr Busts of a garlanded and chapleted lover and his mistress, in fond embrace.
On dove marble round pedestal, enriched with cuivre doré molding and chain
festoons. Square base.
Height, 9 inches.
210—DECORATED FRANKENTHAL PORCELAIN GROUP
Eighteenth Century
" rs “Venus and Adonis.” Lightly draped figures, Venus with her left arm rest-
Z ing on the huntsman’s shoulder and her right extended over his left, as if to
dissuade him from his adventures. On guilloche motived round base. Mark,
coronetted monogram T.C.
Height, 91/4, inches.
211—DECORATED SEVRES JARDINIERE Eighteenth Century
E Oval, with beautiful turquoise grounds; gilded with scrolled valance and two
ea oval medallions in reserve, painted with gay-plumaged birds in landscapes.
Mounted in cuivre doré with gadrooned oval and square base; small lip.
Loose metal lining. Mark, double L enclosing F. Date 1758.
Length, 71, inches.
We
saat
212-DECORATED SAXEK PORCELAIN GROUP
Late Highteenth Century
“A Matron and Family.” A young mother is seated in a scroll-back chair
attired in lawn hood, low-cut brocaded ivory dress, tenderly holding her crying
baby girl on her knee; the child wears a flowered black cap and sprigged yellow
dress. A small elder sister sits on a stool at left trying to amuse her little
sister, blowing a whistle; she is costumed in a white apron over a brocaded
pink dress. (Slightly restored.)
Height, 658 imches.
2183—DECORATED SAXE PORCELAIN GROUP
214——
Late Eighteenth Century
“A Mock Marriage.” Cupidon, attired in ermined lavender cloak, is seated
at right and officiates at the ceremony. A Court lady stands about center
while a cavalier in green, lavender and yellow costume is kneeling before her.
Diana appears behind the group. Scrolled cuivre doré base. Mark, crossed
swords in blue. (Restored.)
Height, 81% inches.
(Illustrated)
DECORATED CHELSEA PORCELAIN GROUP, MOUNTED
IN CUIVRE DORE Eighteenth Century
“The English Lovers.” Seated in intimate conversation, taking snuff. The
beau, who wears ivory coat, blouse, black breeches and rosetted shoes, chucks
his mistress under the chin. ‘The belle is attired in a Dolly Varden cap, flow-
ered Watteau bodice and train over yellow panniers. Mounted in Louis XV
style cuivre doré oval base of rocaille, leaf and strap scrollings forming feet
at irregular intervals. (Restored.)
Height, 634 inches.
(Illustrated)
(Companion to the following)
215—DECORATED CHELSEA PORCELAIN GROUP, MOUNTED
IN CUIVRE DORE Eighteenth Century
“The Spanish Lovers.” A toreador, attired in white blouse, lavender coat
and rosetted black shorts, sits at right embracing the mistress of his heart,
who is costumed in a low-cut flowing ivory robe with a yellow brocaded man-
tle loosely folded round her. Mounted with cuivre doré base similar to pre-
ceding. (Foot restored.)
Height, 7% mehes.
(Illustrated)
(Companion to the preceding)
214 215
No. 2183—DECORATED SAXE PORCELAIN GROUP
(Late Eighteenth Century)
Nos. 214-215—DECORATED CHELSEA PORCELAIN GROUPS,
MOUNTED IN CUIVRE DORE (Eighteenth Century)
216—DECORATED SAXE PORCELAIN GROUP
. Late Eighteenth Century
5 | “Mephisto and Marguerita.” The charming subject, wearing frilled low pink
bodice and flowered ivory skirt, is seated on a bank; she holds a pierrette
mask on her lap with her right hand and pulls at the false white beard of Me-
phisto with her left hand. Mephisto at right, attired in red habit and long
black cloak, bends over adoring her. On blossomed irregular oval base.
Height, 61% inches; length, 6Yg inches.
(Illustrated)
ee
4% 217—TWO DECORATED DERBY FIGURINES Eighteenth Century
“She Stoops to Conquer.” Youth and maiden, declaiming as characters in
6 Goldsmith’s briliant comedy. He is attired in deep rose coat, blue flowered
YY vest and yellow shorts; she in pink flowered panniered skirt and deep rose
bodice. On gilded scrolled round base. Mark, crowned D under foot.
Heights, 7/4 and 67g inches.
218—DECORATED SAXE PORCELAIN GROUP, MOUNTED IN
CUIVRE DORE EHighteenth Century
“Cupidon and Psyche.” Cupidon lightly draped in yellow brocade; Psyche
with a red mantle, standing on a flower-strewn scrolled oval rocaille base.
Mounted in cuivre doré with leaf-scrolled plinth. (Restored.)
ee
Height, 8°4 inches.
# gl.
an
219—DECORATED SEVRES PORCELAIN DISH, MOUNTED IN
CUIVRE DORE Eighteenth Century
Oval. Rich turquoise-blue grounds, reserved with two oval cartels painted
with pheasants in landscapes and enriched with gilded scrollings and lattice
Jambrequin. Mounted in cwivre doré gadrooned lip and similar oval foot with
oblong base. Mark, two L’s enclosing F; date 1758.
Height, 4% inches; length, 74 inches.
2200—TWO DECORATED SAXE PORCELAIN FIGURINES
Highteenth Century
“Shepherdesses from the Court.” Both are attired in flowered brocade cos-
tumes; one has a lawn hood, the other a flat hat. ach standing before a tree
dae trunk, a lamb nearby; on blossomed and scrolled rocaille base. Marcolini
period. (One base restored.)
Heights, 934 and 9 inches.
221—TWO DECORATED SAXEK PORCELAIN FIGURINES,
MOUNTED IN CUIVRE DORE Eighteenth Century
“Little Lads Singing and Dancing.” Chinoiserie, wearing flowing pale yel-
low robe, flowered mantle and green leaf hat. One with left, the other with
5° right, red-shod foot raised. On rustic base. Mounted in cuivre doré with
**~ molded round base scrolled with leafage and blossoms forming feet.
Gb O-
Height, 924 inches.
222—TWO DECORATED SAXE GROUPS, MOUNTED IN CUIVRE
DORE Eighteenth Century
0 0 - ‘America and Africa.” In the first is a Cupidon carrying an orb and sceptre,
K ; yr symbolic of the sovereignty of the world; nearby, an Indian lad wearing feath-
po- ered head-dress and wampum belt, holding a parrot and seated on the back
of an alligator. In the second, another Cupidon, who holds aloft a crescent
moon and flambeau, is embracing a Numidian seated on a lion’s back, driving
the animal by a bridle. The Numidian wears a tusked elephant’s mask on his
head. Mounted in cwivre doré with molded round base having open panels
enriched with laurel festoons pendent from four leaf trusses at quarters.
(Restored. )
Heights, 124 and 1114 inches.
(Illustrated)
‘ 223—TWO PORCELAIN VASES, MOUNTED IN CUIVRE DORE
fe Louis XVI Period
: y Apple-green pear-shaped body, with high round molded base. Mounted in
finely chiseled cuivre doré with leaf and pineappled cover, which reversed
forms a candle socket, ivy garlanded looped handles, scrolled tripods termi-
nating in hoof-feet, base with laurel wreath, pierced molding, lyre motives
and button feet. Mark S.B. in monogram under foot in blue.
Height, 101% inches.
(Aanquay yruooy6rq) THOM AMAIND NI GULNAOW ‘sdNOUD AXVS CULVUOOTA OMI—Zez “ON
224 DECORATED SEVRES PORCELAIN ECUELLE
ee
22
y
4
5
Eighteenth Century
Low round cup, with double entwined and gilded ivory handles, dome cover,
with gilded looped leaf-spray handles and large oval boat-shaped tray. En-
riched on rich turquoise-green grounds with gilded scrolled valance and re-
served cartels enclosing pastoral subjects of “Juveniles Playing and Rest-
ing,” after Boucher by Chabry. 'The gilded valance and scrollings by Drand.
Marks, double L’s enclosing X; date 1775; Ch and M6.
Height, 51% inches; length, 8Vg inches.
(Illustrated)
—TWO TURQUOISE-GREEN SEVRES JARDINIERES,
MOUNTED IN CUIVRE DORE
Oval, with incurved scalloped flutings at lip, reserved gilded scrolled acan-
thus-leaf handles and scroll gilded base. Deep turquoise-green grounds, re-
served with cartels painted with African pheasants, quail, Cayenne penguins
and heron; the small flanking cartels with butterflies. Mounted in Louis XV
cuiure doré with open leaf and rocaille scrolled base having beautifully
scrolled feet. Marks, impressed 14B on one; the other, crossed double L’s
enclosing two E’s. Date 1780.
Eighteenth Century
Height, 7 inches; length, 115% inches.
(Illustrated)
225 225
No. 224—DECORATED SEVRES PORCELAIN ECUELLE
(Eighteenth Century)
No. 225—TWO TURQUOISE-GREEN SEVRES JARDINIERES
MOUNTED IN CUIVRE DORE (Eighteenth Century)
226—DECORATED SEVRES PORCELAIN COVERED CENSER,
MOUNTED IN CUIVRE DORE Eighteenth Century
70: Oviform, with dome cover. Enriched on turquoise-blue grounds with two re-
\? served oval cartels on body painted with “Lovers in Watteau Costumes,” rare
flowers, gilded rocaille and acanthus-scrolled bandings. 'Two similarly painted
kidney-shaped cartels on cover. Mounted in cuivre doré with lion-headed and
tasseled ring handles, open fluted pedestaled base bound with laurel wreath
and berries, arched feet, collar at lip and pineapple terminal. Mark, double
L’s enclosing V. Date 1774.
Heights, 1614 inches; width, 12 mches.
(Illustrated)
227—TWO SEVRES TURQUOISE-BLUE CACHE-POTS, MOUNTED
IN CUIVRE DORE Eighteenth Century
Dnt Deep bow]-shape, with gilded molded lip, foot and leaf-scrolled handies. En-
q? riched with two reserved oval medallions finely painted with bouquets of rare
flowers and fruit. Rich turquoise-blue grounds, with gilded wreaths to me-
5 a dallions gracefully scrolled and festooned to and under handles. Mounted
n> in cuivre doré with Louis XVI foot having pearl-motived and laurel garland
guarding panels of pierced acanthus rinceaux; leaf and claw feet. Marks,
Sevres, crossed double L’s, two K’s at right and Y at left in blue under glazed
foot. Date 1788. Painter probably Xrowet.
Total height, 6 inches.
(Illustrated)
226
227 227
No. 226—DECORATED SEVRES PORCELAIN COVERED CENSER
MOUNTED IN CUIVRE DORE (Eighteenth Century)
No. 227—TWO SEVRES TURQUOISE-BLUE CACHE-POTS
MOUNTED IN CUIVRE DORE (Eighteenth Century)
TOO;
228 ROYAL BLUE SEVRES EWER AND BASIN
e renee | French Eighteenth Centu
Pear-shaped, with molded lobed foot, leaf-scrolled handle and lip. Enrich
oe with two reserved oval medallions occupied by beautifully painted bou
yf of rare varied flowers. Exquisite royal blue grounds, adorned with oak
Sevres Crossed double Ls enclosing D.D. and lugged dinponale “ie
-tese cross under, in blue under glaze of foot. Date 1781.
Height of ewer, 91, inches; length of basin, 14 ; inc.
~ Elta
(Illustrated)
No. 228—ROYAL BLUE SEVRES EWER AND BASIN
(French Eighteenth Century)
229-—-TWO SAXE PORCELAIN FIGURINES, MOUNTED ~
(ce CUIVRE DORE Eighteenth Centu
0 see White swans resting among green rushes, their heads facing out to lef
right in expectant attitude. Rich translucent ivory glaze, with the plum
exceptionally well rendered. Careful vigorous modeling. Mounted in cu
doré with Louis XV oval bases, enriched rocaille scrollings and leaf.
feet. (Both restored.) :
(Illustrated) .
.
230—DECORATED SAXE PORCELAIN FIGURINE, MOU VT
IN CUIVRE DORE | ss Biighteent
y| 90 . “Lion,” Disturbed by a distant object, he lashes his tail, his
pricked up, and mouth open showing his teeth, The fur is indica
brown, 3 | ? | a
Height, 8 inches; length
(Aunquay yrusay6q) AYO AWAINO
NI G&LNOOW ‘SANIYNOIA NIVTAOUOd AXVS OML—6ZzZ “ON
122°
231—DECORATED LAVENDER PINK PORCELAIN SAXE GAR-
fe
yo
NITURE, MOUNTED IN CUIVRE DORE
Highteenth Century
Consisting of two beakers and covered vase. Beaker with two floral gar-
landed reserved cartels, one daintily painted with pastoral group of figures
illustrating an episode from an “Italian Comedy”; the other with fowl in land-
scape. Minutely imbricated grounds of lavender-pink and crimson touched
with gilding; pear-shaped ivory body, with bouquets of rare flowers. Inverted
pear-shaped vase, with two reserved cartels, collar and domed cover having
two cartouches and rosebud terminal. The cartels on body painted with simi-
lar subjects to beaker; cover cartouches with fowl; grounds enhanced with
similar lovely imbrications to beakers. Mounted in Louis XV cwivre doré
with rocaille leaf and blossom scroll rim to beaker, double scrolled open han-
dles and pierced rocaille and leaf base. The vase with leaf-scrolled pierced
collar, connected with similar double scrolled handles as beakers and rocaille
base. Marks, double swords of Meissen on one beaker in blue under glaze of
foot.
Heights, 10 and 14 inches.
(Illustrated)
(Lanquag yquaaqybr7)
4uOd WUAINO NI GHLNOOW “AUALINUVS AXVS NIVTIAOWOd MNId WAANAAVT CULVYOOUd—1E] “ON
232-SAXE PORCELAIN CLOCK, MOUNTED IN CUIVRE DORE a
Louis XV Period jem
Two seated figures of male and female musicians, evidently characters from a
an Italian comedy, within a boscage of flowers, are supported and arbored by
scrollings of rocaille and leafage in finely chiseled cuivre doré. ‘The arbor
sustains a round porcelain dial; inscribed “Le Loutre, 4 Paris.” Glass
case for same.
Height, 181% inches; width, 14 mches.
233—TWO CHINESE PORCELAIN JARDINIERES Cl’ien-lung
3b 0: Square tapering body, on short feet. Decorated in colored enamels with fig-
he ures of devotees, variously mounted or seated among attendants. On carved
(6 "stands.
Total height, 11 inches.
234—_-CHINESE PORCELAIN JAR K’ang-hsi
Oo. Inverted pear-shape, with spreading foot. Painted in rich enamels with fig-
\2> ures of six Chinese maidens enjoying rural pleasures, cloud scrolls, waterfall
and valanced brocade border at mouth. Carved wood cover.
Height, 1314 inches.
oe 235—TWO CHINESE PORCELAIN JARDINIERES
b : ; ; :
2 ‘ ee Tapering hexagonal shape; enriched with groups of Chinese personages en-
I joying the pleasures of the country; executed in rich enamels on white glaze.
On carved stands.
Total height, 1338 mches.
236—TWO CHINESE PORCELAIN JARS, MOUNTED IN CUIVRE
0°: DORE Eighteenth Century
Bee
os Oviform, with mellow chocolate grounds, reserved with medallions of pink
lotus blossoms, peonies and prunus in enamels. Mounted in cwivre doré,
partially oxidized in silver, with gadroon moldings at crown and foot, domed
and bracketed covers having cusped acanthus-leaf vase terminals.
Height, 1314 mches.
236,—CHINESE PORCELAIN JARDINIERE ON CARVED STAND
5 O- Square tapering body, with canted corners. Enriched key pattern and j’ui
bandings in enamel. Loose metal lining. Stand with shaped legs enriched
with leafage.
Total height, 127% inches.
MAJOLICA AND FAIENCE OF THE SIXTEENTH,
SEVENTEENTH AND EIGHTEENTH CENTURIES
237—TWO FAIENCE APOTHECARY JARS
Italian Eighteenth Century
ae ee
| b g 0 Incurved beaker; enriched with large floral motive and scrolling acanthus
leaves in green, yellow and reserved white on cobalt-blue grounds.
Height, 9% inches.
2383—TWO FAIENCE DRUG POTS OR APOTHECARY JARS
O° |C,Tapering sides, and decorated with yellow flowers set among blue, green and
4 D yellow floral designs. Bands of the same colors round the rim and base.
Height of one, 94% inches; of the other, 9 inches.
239—TWO SIXTEENTH CENTURY ITALIAN DRUG POTS
0: Cylindrical in shape. One decorated with waving geometrical and foliage
yl o”- designs in yellow, blue, green, brown and white. The head of a warrior,
seen in profile to the left, above the horizontal band, which is inscribed: “Dia
Penedio.” The other ornamented with floral and geometrical patterns of
like color. The head of a woman above the band, which is inscribed:
“RITRUSA.”
The horizontal band is inscribed: “Hyera. Cogodion.”
Each: Height, 101% inches; diameter at top, 4 inches.
Bought from Lowengard, Paris.
0: ,
\2 240—TWO SIXTEENTH CENTURY ITALIAN FAIENCE APO-
ye THECARY JARS
4°
Decorated with blue flowers. One is inscribed in a cartel: “metri datuz.”
The other similarly ornamented in the cartel, but with the inscription: “dia
rinamoni.”’
Height, 10 inches each.
Bought from Ditta Darigo, Venice.
241—LUSTRED RHAGES FAIENCE AMPHORA
47 5 Early Seventeenth Century
Oviform, with four small loop handles and relief-modeled festoons of rope
motives on shoulder. Green glaze, with varied areas of silvery iridescence
and incrustations from long interment.
Height, 191% inches.
YZ, 242—LARGE URBINO PLATE
The border is decorated with a male head among foliage and two pairs of
amorim. In the center, Cupid is bound to a tree and his bow is held by a
kneeling female figure; two others pelt him with flowers.
Diameter, 16 inches.
aL,
yo°
AFTER RAPHAEL
2483—URBINO WARE DISH (1546): “THE TAKING OF TROY”
A large dish, with sunk center. Men on horseback and on foot, in battle
array, on low-lying ground on the bank of a river; others ride down from the
Castle. Buildings on the far side of the river. Inscribed: “Roina di Troia,
1546. Fatto in Venezia in Chastello.”
Diameter, 21 inches; in a glass case, 25 inches high.
Formerly in the Andrew Fountaine (of Narford) Collection and sold June 17, 1884,
No. 208.
In the collection of Lord Amherst, of Hackney, at Didlington Hall, Norfolk, and sold
at Christie’s, December 11, 1908, No. 14.
Bought from Lowengard, Paris.
Reproduced in color in H. Delange: “Recueil de Faiences Italiennes,” 1879, Plate 80,
and referred to at page 23 in the following terms: ““We must say that it is the only
work that we have met with, made in Venice, in Castello.”
Redford: “Art Sales,” 1888, Vol. I, page 383.
AFTER RAPHAEL
Ce.
65,7°
244 SIXTEENTH CENTURY TRILOBATE URBINO CISTERN,
OR BASIN: “THE GODS ON OLYMPUS”
The curved rim is decorated with repeating volutes; a grotesque Satyr head
forms each of the three handles. 'The inside is ornamented above with “The
Gods on Olympus,” with Mars in the foreground of the group. In the cen-
ter, at the foot of Olympus, the waters divide; on the left is Venus, nude and
with a lyre, at the head of a group of her attendants; from the right issue
forth other maidens who are about to disrobe and bathe. 'The outside of the
cistern is ornamented with Italian hill-top towns in a summer landscape.
The foot is formed of lions’ paws. Probably a work of Orazio Fontana. On
a wood rest, contained within a case.
Height, 11 inches; diameter, 161% inches.
Sold out of the collection of Andrew Fountaine, of Narford, June 17, 1884, No. 82.
ORAZIO FONTANA
Circa 1545
245—URBINO FAIENCE VASE
The neck and upper side portion of the cylindrical vase are decorated with
satyrs, dolphins and other fantastic creatures, variously employed and ren-
dered in a ribbon-like design. In a cartouche a satyr and a nymph are seated.
Below the horizontal band, formed of blue and yellow cross sections, is a wide
field containing strange creatures of similar hue, set in a decorative plan. In
the center is a quatrefoil containing a rocky landscape with a man and, seated
behind him, a woman on horseback pursued by mounted soldiers. Left and
right of this central motif is a small circular medallion with figures, seen in
an azure field. Below a second horizontal band in a cartel is the inscription:
“Corre Amadis tras Gasinan -y
le hauia hurtado una Donzetta
y si hascia defendida de otro
Canebero. LXIII.”
On the reverse is, above, a medallion with the “Judgment of Paris.” Beneath
the upper horizontal band is a quatrefoil, containing three warriors grouped
in the center and two other soldiers in the left background, all seen in a
hilly landscape. Below the second horizontal band is an oblong cartel in-
scribed:
“Despues de heridos en muchas
partes se reconocen Amadis y
Galaor. LXII.”
This vase, which has a thin stem ornamented with fantastic animals, stands on
a hexagonal base borne on claw feet. This base is detachable and is orna-
mented with egg and tongue patterns; it is set round with six framed panels
of Renaissance invention, which are alternatively oval.
Height, 26% imches.
From the collection of the late Baron Adolphe de Rothschild, Paris.
Bought from Duveen Brothers.
The subject of Amadis of Gaul, here represented, is derived from a romance of
ideal chivalry which sets forth the “fairest and the best” of the heroes. This romance
is the father of the innumerable lineage that sprang up in Spanish literature during the
sixteenth century. It was perhaps composed in 1492-96. The first edition known was
printed in 1508 and is the earliest version of the romance that has come down to us.
France, Spain and Portugal have each been claimed as the cradle of this romance, the
author of which was a Regidor of the most noble city of Medina del Campo.
(Illustrated)
ee a es r
BY ORAZIO FONTANA
No. 245—URBINO FAIENCE VASE
eee
ORAZIO FONTANA
Crrca 1545
246—LARGE URBINO BALUSTER VASE
The handles are each formed of two entwined serpents whose heads coil along
the rim of the vase. Beneath each handle is a yellow winged head, and below
each, again, is an oval compartment, ornamented in blue with a mythological
scene. ‘The main field is strewn with quaint mythological creatures and fan-
tastic animals, set out in fanciful patterns. The circular medallion with a yel-
low ground, contained within a blue border, represents “The Building of the
Tower of Babel”; such another medallion on the reverse presents to us Shep-
herds with their flocks and other animals, 1.e. “The Scattering of the People.”
Beneath the yellow horizontal band above the stem are four medallions spaced
between weird creatures and birds. ‘The round foot of the vase rests on a
triangular base which on one side is inscribed:
FATTE IN URBINO IN BTEGA
DI ORATIO FONTANA
ORAZIO FONTANA
Circa 1545
247—URBINO BALUSTER VASE
For the most part similar in decoration to No. 246. The circular medallion
sets forth in detail “The Building of Solomon’s Temple”; another scene ren-
ders, on the reverse, “The Creation of the Kingdom of Judah.” Inscribed
on one side of the triangular base:
FATTE IN URBINO IN BO-
TEGA D. ORATIO
FONTANA
Height, 21 inches.
From the collection of the late Adolphe de Rothschild, Paris, and the collection of M.
Charles Stem.
These two vases are said to have been at one time in the famous Spitzer Collec-
tion. They are dealt with at length in the Gazette des Beaux Arts, February, 1886, page
127, and reproduced at page 414: ‘In spite of the chronology and classification, two
masterpieces quite at the beginning attract our attention; they are large Urbino vases
and a pair; we shall give an engraving out of the text, so as best to set forth their form
and decorative quality, their fine drawing, harmony of colour and variety, as well as the
milky quality of the white enamel which serves as a background. Moreover, these two
pieces bear the inscription . . .
Here, therefore, is an authentic work, if not of a celebrated potter, at least of his
workshop, which can serve to fix attributions of pieces that may be similar or may have
such decoration as we admire in the Bargello, in the Louvre or in other collections.”
(Illustrated)
BY ORAZIO FONTANA
Nos. 246-247—URBINO BALUSTER VASES
248—MOUNTED CHINESE PORCELAIN VASE Ming —
eee Depressed baluster-shape; enriched in open relief with band of Taoist Im-
9? mortals and attendants in center, large scrollings of peonies and open jwi
motives at base; glazed in greens, yellows, deep ivory and aubergine.
Mounted in cuivre doré with leaf and husk enriched moldings at crown and
base; supported on finely scrolled acanthus leaves and husks.
(Illustrated)
fig ,
249—TWO SIXTEENTH CENTURY HISPANO-MORESQUE FA ae
IENCE VASES
HW & 0. Ovoid in shape, with metallic lustre. One decorated with cream- -colored gec aos
| metric patterns and two seven-stemmed sprigs of foliage, together with two ae
»4-" horizontal bands seen on a lustred ground. The other decorated with spra
of three-stemmed and sie berernnee blue leafage and cream- -colored_ flor
designs seen on a lustred brown ground.
Height, 101% inches; diameters at neck, 51% and ‘5 inches.
Bought from Lowengard, Paris.
250—-TWO SIXTEENTH CENTURY HISPANO-MO
noe VASES WITH COVERS
The body of each is shaped with projecting and tapering strap
o-“ rated with azure blue leafage and floral designs and lustred in gold.
3 as the neck of each is a horizontal band ornamented with a floral pattern w
varies in each vase. Twisted cable handles. The cover of each is
mented in like manner, but crowned with a bouton which is not e3
similar. | sie a
Height of one, 111% inches; of the other, 11
Bought from Lowengard, Paris.
(Illustrated)
248
250 250
No. 248—MOUNTED CHINESE PORCELAIN VASE (ding)
No. 250—TWO SIXTEENTH CENTURY HISPANO-MORESQUE
VASES WITH COVERS
MINIATURES AND CABINET OBJECTS
251—GOLD-MOUNTED AGATE ETUI French Eighteenth Century
3; Tapering oblong blue and gray agate. Mounted in gold, with molded open
scrollings at crown, hinge and foot. Length. 81 stag
252—WEDGWOOD BLUE AND WHITE JASPER MEDALLION
Eighteenth Century
5) ’ Mneas and his son Ascanius standing before and pleading with Anchises,
the Trojan hero’s father. In gilded frame. (Restored.)
Diameter, 6 inches.
2583—TERRE CUITE MEDALLION
By Douan; French Eighteenth Century
% 5 ; Circular; delicately modeled with a seated figure of warrior, wearing plumed
helm and having his head turned to the distance. In cuivre doré scrolled ro-
caille frame.
254—IVORY MINIATURE IN GOLD FRAME
Dutch School, Early Eighteenth Century
42 we “Blarenbergh.” Panoramic view of this old-world, straggling town with a
river winding its way through its midst, over which is a bridge. In the middle
distance three horsemen are fording the stream and other personages are being
ferried across. In the foreground are two groups regaling themselves before
an ancient tavern.
JACQUES CHARLIER (arrern FRAGONARD)
255—IVORY MINIATURE French School, Eighteenth Century
g: (Pee “Venus Reclining amid Her Nymphs.” Lightly draped figure of the goddess
reclining on the lap of her favorite nymph, who is seated on a blue drapery
garlanded with flowers. Two Cupidons offer the nymph flowers. At left a
further reclining nymph carrying a bow and a garland of flowers held aloft
by two flying sr idons. Height, 5 inches; length, 7 inches.
MARIA COSWAY
ENGLIsH
256—VENUS AND CUPIDON
uf | De (Miniature, Water Color)
Height, 51% inches; length, 9 inches
Venus reclining on a couch before an open window giving a distant view of
an Italian garden. Her son, Cupidon, embraces his mother. ‘Two further
cupidons hold back a drapery to the window at right. In finely chiseled
cuivre doré frame of the period.
&
FRENCH SCHOOL
EIGHTEENTH CENTURY
257—VENUS AND ADONIS AT CUPIDON’S BATH
J30. (Miniature on Ivory)
Height, 5 inches; width, 41 inches
Lightly draped Venus and Adonis joyously run toward a gushing fountain
in which eight cupidons are sporting amid the water.
FRENCH SCHOOL
EIGHTEENTH CENTURY
258—VENUS AND CUPIDON
)2 0. Oval: Height, 3 inches; length, 352 inches
Lightly draped cupid reclines on a pallet before a landscape in which Cupi-
don stands with his bow and arrows in his hands.
259—-MOTHER-OF-PEARL TEA CADDY, MOUNTED IN CUIVRE
DORE French Eighteenth Century
oO ; : : ;
25°. Oblong, with hinged cover and sides paneled in florally scrolled mother-of-
pearl; enriched in cuivre doré with bands of rocaille scrollings, escutcheon,
lifting handle and molded base. Fitted with similarly engraved mother-of-
pearl sugar box and two caddies. Interior lined with crimson velours.
Length, 87g inches.
J. BRECHEISEN
260—TWO ENAMELS Danish, Eighteenth Century School
29
260 (A) “Vénus au Bain.” A fair goddess is seated at a rocky wooded brook with
: a drapery lightly thrown over her lower limbs and two cupidons are sport-
ing near her feet. Cattle and lake in the distance.
$3 0.
4 (Bs) “Venus Endormie.” Venus asleep reclined on a crimson drapery spread
over a rocky knoll, before woodland. Two playful but sleepy cupidons are
near a flaming torch at left. Height, 5 inches; width, 414 inches.
Signed on back, J. BREcHEISEN, CopENHAGEN, Marcu 31, 1762.
ut a eS WS
261—BATTERSEA ENAMEL BOWL, MOUNTED IN CUIVRE
DORE Eighteenth Century
/¢06, Enriched with four cartels painted with figures of peasants in landscapes in
rich colors; interrupted by gilded basket motives, blue ribbons and sprays of
flowers. Mounted in cuivre doré with interior lining, leaf rim and similar
leaf-motived molded foot. (Restored.)
#4395 A, houk BGs
Diameter, 51% inches.
*
4 a
A oder & Ker
Fig RO Sy ny. Bs
Sees
262—LAPIS-LAZULI AND SILVER INKSTAND
Late Italian Renaissance
yo - Oblong tray of silver, with lapis-lazuli center and ball feet: enriched with vine
scroll border studded with berries of coral. Urn-shaped well and shaker at
ends, flanking a beautiful black agate oval coupe supported by two mermaids
and studded with coral sprays.
Length, 15%4 inches.
ee a FRENCH BRONZES
! )
OF;
y® 2683—TWO BRONZE FIGURINES By J. L. Gérome
“A Roman Gladiator.” Standing upright, wearing helmet having its visor
down; carrying short sword erect to helmet and shield against his left thigh.
The other, “A Roman Athlete,’ wearing cestus, round helmet and an ani-
mal’s pelt over right shoulder; in his left hand he holds a long trident. Deep
green patina. Signed at rear of base: J. L. Gérome.
Heights, 17144 and 174% wmches.
10% 3
? 264—BRONZE GROUP By Antoine Barye
“Jaguar Attacking Elk.” An elk is almost down on his haunches on the
rocky ground; a ferocious jaguar has seized him on the back of the neck, caus-
ing the larger brute to bellow in anguish. Rich green and black patina.
Signed: Barye. Gulded indent F. B. and “F. Barbedienne Fondeur.”
Height, 9 inches; length, 13V% inches.
600.
265—BRONZE EQUESTRIAN GROUP By E. Frémiet
“Ready for the Tournament.” A knight wearing shirt of mail under full
body armor, long mantle and the visor of helmet up, sits astride a powerful
charger with his lance at rest on the ground, waiting calmly for the fray.
The charger seems in perfect accord with its rider and is gayly caparisoned,
but wears a chaffron to protect its head. Deep rich yellow-brown patina.
Signed “E. Frémiet” at top rear of oblong rustic plinth.
Height, 18 inches; width, 16 inches.
266—BRONZE EQUESTRIAN GROUP By Antoine Barye
“Gascon de Foix.” 'The noble Gascon is astride a mighty caparisoned charger
and is attired in full body armor over shirt of mail: brassards, cuissards, gam=>
bords, long spurs and truncheon. His charger, in full armor, bears de Foix’s
coat-of-arms on flanks and chest. Rich green-black patina. Loose oval-top
plinth and arabesqued paneled pedestal, with extended pilasters having
shields on three sides and extending molded base with pendented feet.
Signed: “Barye. Height of bronze, 1884 inches; width, 12%@ inches.
Height of pedestal, 6% inches; length, 1714 inches,
CUIVRE DORE AND ORMOLU OF THE EIGHTEENTH CENTURY
46° = = 267—TWO CUIVRE DORE CANDLESTICKS Régence Period
Spiralled cartouche shaft, enriched with three demi-cupidons; supporting
leaf-adorned bobéche. On irregular molded flaring base, enhanced with flut-
ings, leaf and shell motives.
Height, 1414 inches.
ae
40. 268—TWO CUIVRE DORE VASES OF FLOWERS Deh
: Louis XVI-Period
Oviform vase, filled with bouquet of roses, lilies and foliage. On square —
statuary marble base.
Height, 5% inches.
4? ' 269—CUIVRE DORE KEY RACK Louis XV Period
Cartouched shell center, finely scrolled with open leafage, buds and blossoms.
Two hooks and half-ring central projection for keys.
Length, 6 inches.
100 of Oe
270—THREE CUIVRE DORE FIGURINES French Renaissance
Curious winged sphinxes with scrolled mermaids’ tails and paw feet. Finely
modeled and richly gilded.
Height, 81% inches
271—TWO BRONZE FIGURINES
7a ° ae me :
¥ I S50: a French Eighteenth Century, Period of Lows XVI
Bo ,
Representing children playing musical instruments. In the style of Jean
Baptiste Pigalle. They are represented only lightly draped. One is seated
playing Pan’s pipes; the other kneels on one knee beating time to the music
with a baton. Rich black patina. On cuivre doré square bases enriched with
leaf moldings. Heights, 124% and 12 inches.
Two similar statuettes are in the Wallace Collection in London, reproduced in the
Catalogue of the Wallace Collection by Emile Molinier, pl. 55.
q 0, 272--CUIVRE DORE FIGURINE French EKighteenth Century
“Cupidon.” A chubby laughing boy, seated holding a truncheon in his hands.
On fluted broken column of statuary marble with round base; enriched with
gilded husks.
Total height, 644 inches.
oo
oo :
| 273—TWO CUIVRE DORE MARBLE CANDLESTICKS
Vie Louis XVI Period
Slender oviform vase of statuary marble, bearing bouquet of flowers in cutvre
doré having one flower fitted for socket. Supported on open tripod with paw
feet, chain festoons and round dove marble base.
Heights, 1014 mches.
274 TWO CUIVRE DORE CANDLESTICKS Louis XVI Period
0-
\? y- “Tapering square paneled shaft; enriched with rams’ heads, bowknots and
0: pendent husks. Surmounted by festooned vase-shaped sockets; on molded
bh square base with canted corners and gadrooned feet.
Height, 844 mches.
275—TWO CUIVRE DORE CANDLESTICKS Louis Philippe Period
Gracefully husked and leaved tapering round shaft, candle socket and round
base. Fitted with electric candle and shade with colored print.
Total height, 1614 inches.
276—TWO BRONZE FIGURINES Louis XVI Period, after Pigalle
Ly bee Little cupidons. Seated girl holding a tambourine; the boy with Pan’s pipes.
9 Supported on square Bréche d’Alpes marble base, with cuivre doré acanthus-
leaf molded enrichments and molded black marble plinth.
Heights, 914 and 934 inches.
277—_BRONZE GROUP By St. Germain; French Eighteenth Century
5 ee “Venus and Cupidon.” ’
Mentioned in Lami: “Dictionnaire des sculpteurs de Vécole francaise du 18 siécle,’
Vol. IT, page 158.
Note: This and the following group are slightly changed repetitions of Clodion’s
well-known groups representing the same subjects in the Cluny Museum in Paris which
are signed and dated 1783 and were presented in 1891 to the Cluny Museum by Léon
Moreaux. They are reproduced in an article by Jules Guiffrey in the Gazette des
Beaux Arts, 1893, Vol. I, pages 393 and 395; also in the book by Thirion on “Les Adam
et Clodion,” 1885, pages 233 and 285.
Micuet (Cxiaupe) called Ciopron: Born in Nancy in 1738; died in 1814. Studied
in Paris in the atelier of his uncle and later with Pigalle. In 1759 Clodion received the
first prize in sculpture. Went to Rome in 1762 and stayed there until 1771, when he
came back to Paris. Married in 1781 the daughter of the sculptor Augustin Pajou,
and it was only in 1798 that he entered the Royal Academy of Painting and Sculpture.
(Companion to the following)
(Illustrated)
y° * 289—BRONZE GROUP By Clodion (Claude Michel) ; French, 1788-1814
\\ “Wood Nymph, Sportive Cupidon and Infant Faun.” The vine-laureated
wood nymph is seated on rocky ground; a light drapery loosely falls over
her lap; on her left knee, which is crossed over to right, she restrains a ven-
turesome infant faun, who wants to join in play with a cupidon on the ground
beneath, who laughs up at them, evidently recollecting some amusing prank
he has played in the past. ‘The expression of uncertain caution of the infant
faun is inimitable. On molded round base. Rich deep yellow-brown patina.
Signel “Clodion” at back.
Height, 211% inches,
(Companion to the preceding)
(Illustrated)
288
BY CLODION (CLAUDE MICHEL)
288-289—BRONZE GROUPS
Os.
N
\~
6°
290—TWO CUIVRE DORE FIGURINES
ae
By Pigalle; French, 1714-)
“Cupidons Holding up Mirrors to Venus.” Cupidon facing slightly
with one knee on rocky ground, holds up, on higher rock, a circular
for his mother, Venus, to view her charms; he has garlanded the m
flowers and fruit. Cupidon’s chubby little sister, facing slightly -
seated and holding a similarly garlanded mirror in much the same wa)
brother. Exceptionally fine chiseling and gilding. Fine original —
Both figures are on incurved fluted oval statuary marble bases; enr:
husks in the flutings and leaf moldings. :
Height, 10
Note: These two charming figurines were supposed to be made for and p
an admirer to Marie Antoinette, flattering her with the assumption of her b
ing that of Venus.
(Illustrated)
SANIYONSIA AYO AYAINI OMI—06z “ON
ATIVOId A
ip iit Oe Ee
aa Hens
4.3
o
4
a
*291—MARBLE BUST OF MME. DE WAILLY, née BELLEVILLE
By Augustin Pajou — s
Madame de Wailly is represented facing to the front with her eyes look-
ing toward the left. Her hair is arranged in elaborate curls falling to her
shoulders and framing her beautiful face. She wears a gown loosely draped _
and exposing her left shoulder. On a molded round dove-gray marble bas
and square plinth. Signed at back, “Pajou,” and dated 1789.
32, pl. IT, as belonging to the David Weill Collection in Paris and formerly im t
Mme. Lelong and in the Princess de Wagram Collections. It was exhibited m the
Salon in Paris in 1789. p
' Note: Madame de Wailly, née Belleville, was the wife of the famous French Arc
tect Charles de Wailly, who was attached to the Court of the French King, and who e)
a personal friend of Pajou. His terra-cotta bust in the Baron de Bethman Collection _
in Paris was also executed by Pajou (reproduced in Stein: “Augustin Pajou,”
27). When Charles de Wailly died in 1798, Madame de Wailly married Antoine Fou
croy, member of the Academy of Science in Paris and General Director of Public
struction.
Pasov, Avcustin: Born in Paris in 1730; died in 1809. Pupil of Jean Baptis
Lemoine, whose atelier he entered when fourteen years of age. Went to Rome in 17
and entered the Royal Academy. In 1736 he came back to Paris, where he entere
Royal Academy of Sees and Sculpture,
(Illustrated)
No.
BY AUGUSTIN PAJOU
291—MARBLE BUST OF MME. DE WAILLY, née BELLEVILLE
_o* 292—LIMESTONE BUST OF MARIE ANTOINETTE
G? Attributed to Augustin Pajou
Marie Antoinette is represented facing to the front. Her hair is dressed high
and a few curls fall to her shoulders. She wears a gown cut low and draped
in front and over her shoulders. From her neck hangs a ribbon to which is
attached a medallion with the image of Louis XVI. On a square molded
base.
Height, 335% inches.
Note: Pajou executed many portraits of Marie Antoinette. Among them the most
famous is the group in which the Queen is represented as Venus holding the Cupid (it
represents her new-born child) in her arms and of which there is one example in the
possession of Madame Francis de Croiseet in Paris and another in the Musée de Manu-
facture de Sévres. As for busts of her, there is one in the Palais de Trianon in Ver-
sailles and another in the Chateau de Versailles.
Pasov, Aveustin: Born in Paris in 1730; died in 1809. Pupil of Jean Baptiste
Lemoine, whose atelier he entered when fourteen years of age. Went to Rome in 1752
and entered there the Royal Academy. In 1736 he came back to Paris, where he en-
tered the Royal Academy of Painting and Sculpture.
(Illustrated)
qd 293—SCULPTURED STATUARY MARBLE GROUP
d French Eighteenth Century
“The Magdalen.” Reclining lightly robed figure meditating on a skull held
in left hand.
Length, 18 inches.
ATTRIBUTED TO AUGUSTIN PAJOU
No, 292—-LIMESTONE BUST OF MARIE ANTOINETTE
0
1,
294 MARBLE STATUETTE REPRESENTING MERCURY
BY JEAN BAPTISTE PIGALLE
(Born in Paris in 1714; died in 1785)
TACHING HIS HEEL WINGS
Mercury is seated on rolling cloud forms. He is represented naked, a = pe
covering only a part of his loins. He wears his famous winged hat, al
the Berlin Museum, executed in 1748 at the order of the French King Louis x
gave it as a present to the King of Prussia. A small marble statuette of this
executed by Pigalle in 1744 as his diploma work, is in the Louvre, ee with |
replica in marble belonged formerly to the “fermier général” Bouret.
75°
295—SCULPTURED STATUARY MARBLE GROUP ~ By Allegrain
“Leda and Swan.” The daughter of King Thestius, lightly robed, stands
with her right hand resting on a drapery, her head gracefully turned down-
ward to the swan at her right side. Her other hand is raised in a gentle
warning gesture to the swan. Finely modeled with rare feeling for flesh
texture. On molded round base.
Height, 25 inches.
ALLEGRAIN, CHRISTOPHE GABRIEL: Born in Paris in 1710; died in 1795. Brother-
in-law of the sculptor Pigalle. Was agreed in 1748 to the Royal Academy of Painting
and Sculpture. He was almost constantly employed by Madame du Barry in her
Chateau in Luciennes, from which come her best known statues in the Louvre, “La
Baigneuse” and “Diane surprise au bain” (Nos. 483 and 484).
296-SCULPTURED STATUARY MARBLE GROUP
By Pajou; French, 1780-1809
“Satyr and Bacchic Infant.” A bearded muscular Satyr, looking slightly ; a
to right, is seated on draped uneven rocky ground spread with fruit. He o
dandles on his raised left knee a Bacchic infant, who joyfully plays his a
6 42 reeded pipes. On molded oval dove-gray plinth. Signed in front, “Pajou; =a
and dated 1778. Be
; Total height, 1914 mches.
Note: This delightful group and the succeeding group are undoubtedly two of the m
most charming and playful sculptures ever produced by Pajou, who was so famous”
for his portrait sculpture. ;
(Illustrated)
297—SCULPTURED STATUARY MARBLE GROUP ae
By Pajou; French, 1780-1809
“Bacchic Wood Nymph and Infant.” A nymph looking slightly to le
fas, a wearing knopped hair at back, is seated on rocky, uneven ground spread wi
fruit, amid which her tambourine is seen. She is holding and fervently ki
ing her little offspring, who stands against her right knee with a bunch
grapes under his left arm. (Restored.) On oval dove-gray marble pli
Signed at back, “Pajou,” and dated 1778. :
Total height, 1914 in )
Note: The two groups here described are reproduced in Henri Stein: “Augustin
Pajou,” pages 212-213, as belonging to the collection of Edouard Kann in Paris,
were formerly in the Bischoffheim Collection, and were lent by him to the “Expos
de Art au 18me siécle,” 1884, No. 268. x ot
Pasov, Aveustin: Born in Paris in 1730; died in 1809. Pupil of Jean Bap
Lemoine. Went to Rome in 1752 and came back to Paris in 1756, where he ente
Royal Academy of Painting and Sculpture. RS
(Illustrated)
SdQOUD WIGUVW AUVOLVLIS GHYOLdTIOS—L62E-966 SON
NOLVd NICGSOONV Ad
is steadying himself with his hands on its aioalders On oblone ree ba
with bunches of grapes scattered thereon. Signed on base, “Johan
Claudius De Cock inv. fee anno 1724.” (One leg of mounted saty
been restored. ) a
Half statuary marble pedestal of later period. Oblong iecacen shaft with »
crown and base enriched with leaf moldings.
L400.
gZoado #a,
299—TWO BRONZE STATUETTES French Eighteenth Century
ee
“Infants Bacchus and Venus.” Young Bacchus, with vine wreath in his hair,
joyously stands on a rustic base amid bunches of grapes that he is playfully
spilling from his robe, held up as a festooned pannier with his two hands.
The sorrowful little Venus stands holding her robe up in a similar manner
and dries a tear with her left hand as she glances sidelong at her two dead
love-birds in her gathered-up robe. Rich green-black patina of the period.
On molded round Rouge Royale marble plinth.
Height, 20 inches.
300—BRONZE BUST French Eighteenth Century
“Young Girl.” Wearing vine leaves and grapes in her long waving hair,
which falls past her shoulders, and robe draped low round her bosom. On
round molded plinth. Pedestal for same.
Bust height, 1884 inches.
301I—CARVED BOXWOOD FIGURINE French Eighteenth Century
“Bacchic Youth Dancing.” A joyous figure, wearing a wreath of pendent
19 , grapes in his hair and loose trunks, he holds his hands together to his right
and lightly stands on his left foot, the other raised in the act of dancing to the
swaying of his lithe body. On circular molded ebonized pedestal.
Total height, 155% inches.
3022—-TWO MARBLE CASSOLETTES, MOUNTED IN CUIVRE ‘a a
DORE Louis XVI Period a
0° ; Egg-shaped smoked cream marble body, with similar dome cover. Mounted es
ve ‘in finely chiseled cuivre doré with leaf and berry terminal, gadroon-molding
4° to cover, incurved neck with chevroned shoulder having open scrolling below "a
and two grotesque leonic-ass headed handles. On molded round base and ae
square plinth adorned with gadroons and pointed leaves. se
Height, 115% inches.
303—TWO MARBLE CASSOLETTES, MOUNTED IN CUIVRE>
: p- DORE AS LAMPS, WITH SHADES Louis XVI Period
Statuary marble urn-shaped bowl, with dome cover and incurved rounded —
triangular plinth. Mounted in cuivre doré with ram’s-horned satyr-mask
ee tripod legs tapering to hoof feet and standing on an incurved base with —
% fruit finial. Champagne-colored silk shade. Total height, 227, inches.
Ran
tee
304—TWO CUIVRE DORE AND MARBLE LAMPS AND SHADES
nee Directoire Period
| } Cuivre doré figure of a voluminously robed vestal, standing holding aloft a
mall marble vase and a surmounting gilded leaf urn and a cut-glass bowl
4°° On stepped circular statuary marble base, capped by round fillet of red por-
phyry. Champagne-colored silk shades. Total height, 27 inches
305—CUT-CRYSTAL GLASS FLOWER HOLDER, MOUNTED —
A CUIVRE DORE | Louis XVTeee
hy 5 Funnel-shaped bowl, cut with stripes and scalloped rim. Supported by cuivre
doré tripod enriched with satyr-masks having rams’ horns and hoof feet;
fruit pinnacle in center, on round malachite base furnished with half st
uary round marble plinth. Height. 17 i
eight, mel
8550, 306-—TWO BRONZE AND CUIVRE DORE CANDELABRA
French Eighteenth Century, Period of Lows XVI
2 s,.~« Standing figures of Flora and Pomona in black-green bronze, having bas-
kets of flowers at feet, and upholding cwivre doré cornucopias of flowers and
fruit emitting three scrolled arms fitted for wax candles. Red porphyry
plinth, enriched with gilded wreath of laurel leaves.
Height, 30 inches.
Note: Two very similar candelabra were formerly in the Eugéne Kraemer Collec-
tion (reproduced in Catalogue, 1913, Vol. I, page 92, pl. 113).
307—TWO BRONZE FIGURINES Directoire Period
“Two Small Psyches Dancing.” Both with long curling hair, butterfly wings
ff © + ,* and ribbon sash, their arms raised in action and one foot of each lifted from
pe the ground. Fine golden green patina of period. Supported on molded
square plinths, enriched with gilded stellate motives and leaf moldings.
Total heights, 175% inches.
-
308—ORMOLU AND MARBLE CLOCK 2
French KHighteenth Century; by Barancourt
42?’
“Venus and Cupidon.” Modeled by Falconet. Domed statuary marble body
and double plinths. A lightly draped Venus gracefully leans over the dome,
her right hand stretched forth to receive from her little son, Cupidon, a love-
bird he is handing to her; a drapery of cuivre doré falls over the back of the _
body. The plinths are variously enriched with leaf moldings, trophy and fes-
tooned lion paws between the two plinths. Porcelain dial, signed “Baran-—
” e
court. Height, 14 inches. —
Note: The composition is similar to the one in the clock in the Palais de ’Elysée in
Paris, reproduced in Dumonthier: “Les Bronzes du Mobilier National,” pl. 20, No. 1.
(Illustrated)
_ 809—TWO BRONZE AND MARBLE CANDELABRA ee
40° ee Louis XVI Period G
Cuivre doré leaf-enriched urn, surmounted by two adjustable scrolled sone
thus-leaf arms for lights. Supported by three caryatids in rich brown f
bronze and statuary marble plinths, enriched with tasseled chain festoons «
oe Height, 16 in
310—TWO BRONZE AND CUIVRE DORE CANDELABRA ‘
: French Eighteenth Century; Period of Louis XP
(oy Oe Two bronze nymphs in lightly draped robes gayly dance as they hold a
3° staves, each terminating in three rams’ heads and surmounted by three lig
scrolled acanthus-leaf arms and central standard terminating in a pineap
and leaf motive, festooned with chains. On dove marble pedestal, festoo
with further chains and adorned with pearl moldings and square base. |
Height, 27 inches.
N ote: There are similarities with candelabra snes in the Eugéne Kraemer Col-
lection, reproduced in Catalogue, 1913, pl. 106.
(Illustrated)
(IAX smoT fo popag ‘hunjuay yzusarybry yout) VYAV'TAGNVO TNO AYAINO CNV AZNOMA OMI—OLE “ON
(qanoouving, fig ‘hanquay yrusaybrug yous) MOOTIO ATAUVW GNV O'TONNO—808 “ON
Olé
80€
r
}
AAA Re RRR RRR fe Re ee
a a CR as
Bo
15:
Square marble body, with circular porcelain dial; surmounted by a pyrat
and supported on molded plinth. Mounted in finely chiseled cuivre do
with Imperial crown resting on cushion at the top of pyramid, militar
trophy in front, and supported on body by leonic-headed leaf paw feet, the —
square body flanked by cupidons, the one at left seated wearing helm and
carrying a cornucopia of coronets on his knees. At right another is standing
with laurel wreath over left arm; base with acanthus rinceaux and button
feet. Dial inscribed: “Rogue a Paris.” ie
Height, 20 hoe Ms:
- 312—CUIVRE DORE AND BRONZE CLOCK Louis XVI Period
Spherical movement, with annular revolving porcelain hour and minute dials;
surmounted by two cupidons and love-birds amid cloud forms and stars.
Supported on three Atlantes, central baluster coiled with serpent constitut-
ing the hand of the clock, and incurved triangular base enriched with spread
eagles bearing festoons; gadrooned feet. The torsos of the Atlantes are in
deep rich bronze giving a fine tone to the remaining gilding.
gy 3°
Height, 2414, inches.
313—CUIVRE DORE CARTEL — By Imbert; French Eighteenth Century
ce 3 Molded drum dial, extending to lattice panels at sides and foot; wreathed
4, and festooned with beautifully chiseled oak-leaf garlands bearing and tas-
seled with acorns. Surmounted by a large bowknotted ribbon and festooned
and fluted vase. Pendented with acanthus and laurel leaved husks. Dia
signed: Imbert, L’ainé. Height, 24Vy inches.
Note: The composition shows similarity with a clock in the Louvre and with an-
other in the Ministére de la Guerre (reproduced in Dumonthier: “Les Bronzes du Mo- —
bilier National, pl. 25). :
314—FOUR CUIVRE DORE CANDELABRA Empire Period
Reeded expanding shaft, with arabesqued capital and leaf base; supporting *
three scrolled acanthus-leaf arms and central vase for lights.
py?
Height, 214 inches. —
re
315—CUIVRE DORE CARTEL
By Causard; French Eighteenth Century
Circular porcelain dial, set in an elongated cartouche having glazed peep-
hole toward foot and very broad scrollings of acanthus leaves terminating in
a patera scroll-bracket husk. Surmounted by laurel-festooned vase. Broad,
finely chiseled leafage of the very greatest epoch. Dial signed: Causard,
Her. du Roy, Suiv. La Cour. Height. 2214 inches.
Note: A clock mounted on an elephant and signed in exactly the same way is in
the possession of Mr. James Arthur (see F. G. Britten: “Old Clocks and Their Makers,”
p- 438). Another clock, signed “Causard, Horloger du Roi,” is in the Ministére de la
Marine in Paris, reproduced in Dumonthier: “Les Bronzes du Mobilier National” (Pen-
dules et Cartels), pl. 12, fig. 2. In the same work, pl. 25, is reproduced a clock from
the Louvre showing a similar composition.
316—TWO BRONZE AND CUIVRE DORE CANDELABRA
Louis XVI Period, after Clodion
OF ._ Figure of a chubby Cupidon draped about loins and finished in fine green-
6° o” brown patina, standing with upraised arms carrying aloft bouquets of cuore
ue doré lilies, of which four flowers are fitted for candles. On molded drum
pedestal, enriched with spiral flutings, leaf and pearl motives and cruciform
feet.
Height, 36 mches.
317—TWO BRONZE CANDELABRA Directoire Period
O° Classic nymph in rich brown-black bronze, bearing cutvre doré scrolled cor-
»°” nucopia of grapes from which spring three chain-festooned acanthus
4 branches for lights and at center a coiled serpent beneath a flaming torch.
On round Alps-green marble plinth, enriched with gilded acanthus-leaf
moldings.
Height, 31 inches.
(Illustrated)
_318-CUIVRE DORE CARTEL — By Michau; French Eighteenth Century
6° Circular porcelain dial. Supported by expanding panel set with thermometer
and enriched with floral motives at sides, surmounted by laurel wreath and
bird’s nest; pineapple pendant. Signed on dial: Michau a Paris.
Height, 31 inches.
Note: The clockmaker Michaud was active about the middle of the eighteenth
century.
\)
(Illustrated)
6 50° 319—CUIVRE DORE CARTEL Louis XVI Period
Drum-shaped, with porcelain dial; enriched with leaf and pearl motives and
open laurel wreath. Surmounted by a lyre device and sprays of acanthus
leaves; small apron of bracketed fruit and further acanthus leaves.
Height, 1534 inches.
Bite) Gadel
we
FP PII
-_
a
a
PS
——,. : ay,
\ ¥ he
Ray
RTS
+O nA wince
No. 817—TWO BRONZE CANDELABRA (Directoire Period)
No. 318—CUIVRE DORE CARTEL (By Michau; French Eighteenth Century)
PHOTOGRAPH
IN ARCHIVES _O +
7?
») é
» | is
by
aq? 320A—MOUNTED CHINESE SANG-DE-BQ@UF VASE
320—TWO BRONZE AND CUIVRE DORE CANDELABRA
By Feuchére; French Eighteenth Cae 17
ries and boldly festooned with roses; leaf-enriched and fluted round | :
Two green-bronze mermaids, with entwined tails, kneel on the shouldet
vase and support a bouquet of golden lilies growing from the vase and
three bobéches for lights. On square dove-gray marble plinth, enlivened 1
pearl moldings and round button feet. Very richly gilded. Pedest Is
same.
Note: These two finely chiseled and modeled candelabra are stamped with tl
coronet above Eu and numbered 1277 and 1276. They were formerly in the |
d’Eu.
Two candelabra of similar shape were formerly in the Jacques Doucet
in Paris, reproduced in Catalogue, Vol. III, page 22, pl. 232. *
Fevcuire was a French metal-worker of the second half of the eighteer
There are several sets of wall lights and a pair of candelabra by him in the |
Collection in London, (See Molinier: “La Collection Wallace and Illustrate
logue of Sculptures . . . of the Wallace Collection,” XI, 5-8, and xe
There are also works by him in the Louvre.
(Illustrated)
Bottle-shape; rich cherry-red glaze mottled with blue from mouth
Mounted in cuivre doré with leaf-molded collar having two lon
serpents on either side proceeding to body as handles, husk-enriched
base and fluted plinth having rosettes at corners.
(Illustrated)
(sy-6un.y) ASVA ANWEI-AG-ONVS ASANIHO GALNAOW—Vv0zE “oN
(hanquay yruoaybry youety) AYAHONAA AT VUAVIAGNVO AYO AYAIND GNV AZNOUM OMIE—0ZE “ON
} ater:
one
.
>
3208B—CUIVRE DORE AND MARBLE LYRE CLOCK
By Charles Le Roy; Louis XV. I Perio
ri Open statuary marble lyre, with fluted oval base and oblong gray marbl
‘h plinth. Circular movement surmounting the marble lyre. Richly mountet
in finely chiseled cutvre doré, with laurel wreath encircling movement, fes:
toons, husks and acanthus scrollings on lyre. Porcelain dial, ee Ch
Le Roy a Paris. , }
Heals Yin
321—TWO IMPORTANT CUIVRE DORE CANDLESTICKS
By Thomire; Empire | ;
0. y Winged griffon, seated with wings upright, festooned with medallioned law re
95 at neck and bearing lily cusped socket on head. Oblong base, enriched w’
key-patterned Gaaines Exceptionally fine chiseling and gilding
cases for same.
Hagha: 12%
Note: Pierre Philippe Thomire was perhaps even more virile as a dane
Gouthiére, and these candlesticks, in pristine state, show to what height the art of 1
ciseleur had attained, rivaling as it did even the finest craftsmanship of Be te
century goldsmith.
(Illustrated)
BY THOMIRE; EMPIRE PERIOD
No. 32I—TWO IMPORTANT CUIVRE DORE CANDLESTICKS
35)
322 THREE-GRACE CUIVRE DORE CLOCK
By Lepaute; French Eighteenth Century :
Garlanded drum movement, with porcelain dial surmounted by cupiaes car-—
rying a medallion occupied by profile head of Francois I. Supported o
fluted and columned urn surrounded by three graceful figures of clas
nymphs, garlanded with flowers. On oblong statuary marble base, enrich
with laurel and vine motives and button feet. Dial signed: Lepaute, H
du Roi. The figures after Clodion. a
Height, 22 inc
Note: Jean André Lepaute was born at Montmédi in 1709; died in 1789. Famo
in Paris as a Clockmaker. Was appointed “Horloger du Roi.” Author of an excellen
“Traité d’Horlogerie,” published in 1760. ;
In the Jones Collection, in the South Kensington Museum in London, is a fine clo i
signed ‘‘Lepaute de Belle Fontaine 4 Paris.” Four clocks by him are in the Wallac: ie
Collection in London. In France there is a great number of them in the Palais de Fon-
tainebleau; also in the Palais de Compiégne, in the Ministére de la Guerre, in the Mini- —
stére de la Justice and in the Palais de ’Elysée, Paris; in the Louvre, etc., all rep
duced in Dumonthier: “Les Bronzes du Mobilier National” Siem et Wega |
from Clodion’s ae candelabrum supported by the Three Graces in the Lo
produced in Thirion: “Les Adam et Clodion,” page 322. ;
BY LEPAUTE; FRENCH EIGHTEENTH CENTURY
No. 322—THREE-GRACE CUIVRE DORE CLOCK
0
5°
823—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE
a, po DORE Italian Renaissance
Finely cut crystal stem, interrupted by cuivre doré cup-like motives, and to-
wards foot adorned with scrolled heads of cupids. Triangular base, en-
riched with further heads of cupids, spreading feet and oval medallions of
crystal.
Height, 281 inches.
0 °
4° 324—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE
%,
DORE Italian Renaissance —
Similar to the preceding.
Height, 251% imches
0)
oie
Bd, fo «DORE
bs
onetted bobéche, with molded socket.
one candelabrum. )
- ,
}, toe DORE
Similar to the preceding.
Ro? v— DORE
325—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE
Italian Renaissance
Finely faceted stem of crystal, interrupted with enriched collars of cuivre
doré and on the lower, gadrooned oviform motive with scrolled heads of cupi-
dons. Scrolled spreading triangular base with oval crystal panels. Cor-
(Small section of coronet missing on
Height, 381% inches.
326—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE
Italian Renaissance
Height, 371% inches.
327—TWO CRYSTAL CANDELABRA, MOUNTED IN CUIVRE
0 :
q Similar to the preceding.
Italian Renaissance
Height, 341% inches.
qe
a
328—TWO CUIVRE DORE ALABASTER CANDELABRA
Louis XVI Period |
Tapering square shaft, with molded base supporting cuivre doré basket of :
flowers having blossoms and buds in porcelain, naturally colored, and three |
scrolled arms for lights. The shaft enriched with floral appliqués and sup-
ported on open scrolled basketed dome mounting with leaf scroll and
paw feet.
Height, 2114 inches, j
O° oa
6° y with emblematic tambourine and wand, Bacchante with ewer, Pan’s pip
D4 , ae and a tambourine. Each holds aloft a cuivre doré fluted cornucopia of grap
api from which spring eight acanthus scrolled branches and central branch »
further grapes, fitted with electric candles. Round pedestal of mottled b
and gray granite with square base; enriched with large gilded and rib
wreath of laurel at base.
Height of candelabra, 45 inches; of pedestal, a7
(Illustrated)
18 “dele au Louvre,” page 58, No. 327,
AFTER CLODION
No. 329—TWO BRONZE AND CUIVRE DORE CANDELABRA
AND PEDESTALS
‘
A
4
L
(E
330—TWO CUIVRE DORE CHENETS Louis XVI Period
Greyhounds couchant; facing center. Beautifully modeled with firm han-
4 5 0 dling. On molded oblong plinth, enriched with acanthus-leaved, medal-
lioned rosettes. On gadrooned feet. —
Height, 134% inches; length, 1714, inches.
0)
30 331—TWO FIRE-DOGS IN CARVED AND GILDED BRONZE a
French Eighteenth Century, Period of Louis > 4 aa
The fire-dogs are formed of large fluted volutes decorated with leafage anda
rocaille. ach of them is ornamented with a statuette, the one at the left
representing Adonis and the one at the right Aphrodite. They are facing —
each other with appealing gestures and pose, and floating draperies cover ‘a
only partly their bodies. = ; Z
a
Height, 16 inches; length, 18 inches. = ¥
Note: Two similar fire-dogs, ornamented with statuettes of Pluto and Proserpinenmt =
were ene in the Rodolphe Kann Collection, reproduced in Catalogue, 1907, Vol em
page 56, pl. 160, and in Emile Molinier: ‘Histoire des Art iqués a Vi icon
Wels Titrpare' 100, des Arts appliqués 4 Pindustrie,” —
ak CIEE 7 VA cen gre ante
B/os 0, 52 Fe
3° 339 TWO CUIVRE DORE CHENETS
French KHighteenth Century, Lows XV Period
-:
§0.,
J Two ferocious lions, one with forepaw raised on a plumed helmet, the other
on a Medusa shield. Standing on broadly scrolled and paneled rocaille bases,
enriched with military trophies. APIA anoles:
Note: Two chenets showing similarity were formerly in the Kugéne Kraemer Collee-
tion, reproduced in Catalogue, 1913, Vol. II, page 104, No. 137.
4 00 * 333—TWO CUIVRE DORE CHENETS Louis Philippe Period
Laurel-festooned oviform vase, with ram’s-head handles. Supported on fluted
broken columns. Back irons shaped and enriched with pineapple pinnacles.
Height, 1814 imches.
Note: Two chenets showing similarity were formerly in the Eugéne Kraemer Col-
lection, reproduced in Catalogue, 1913, Vol. II, page 104, No. 1387.
334—TWO BRONZE AND CUIVRE DORE CHENETS s
French Eighteenth Century, Period of Louis XV a
19 a Youthful Ariadne and Bacchus. Lightly draped figures facing toward center a
and seated on reversed cuivre doré S-scrolls enriched with acanthus leaves
and rocaille motives. Ariadne has arm upraised as if beckoning her lover.
Golden green patina.
Height, 14 inches; width, 13 inches.
S00,
335—PAIR OF FRENCH CHENETS Period of Francois Premier
Figure of a chimeric dragon with long virile pouched neck and breasts having
small wings at back. Weird minotaur head with open mouth having long
lapping tongue. Vigorously standing on strongly arched legs with massive
claw feet. Bold sculpturesque modeling of an exceedingly interesting type
and period. Rich deep patina.
Height, 17 inches.
with a loosely draped and tasseled gilded saddle-cloth; prancing toward center —
over a rustic tree stump. Supported on cuivre doré serpentine-scrolled and a
paneled oblong pedestals having open leaf-scrolled corner brackets which con- —
. . . . ¥ . er |
tinue into the scrolling feet; the corner brackets sustain at crowns ribboned
festoons of acorned oak leaves.
Bought from A. Pick, Vienna.
w7)
yo?
a
ee
337—_FOUR SILVER AND ROCK-CRYSTAL LUSTRED WALL
APPLIQUES Louis XVI Period
Fluted, half vase-shaped back, terminating in three leaves and emitting at
crown a bouquet of cut crystal flowers with pear-shaped drops, and series
of two and three upscrolled arms for lights; elaborately festooned and pen-
dented with varied faceted and pear-shaped drops.
Height, 2314, inches.
338—IMPORTANT LUSTRED OXIDIZED SILVER-PLATED CHAN-
DELIER : Louis XVI Period —
400 At crown a graceful open vase of small lustres emits bouquet of cut crystal
P BI lustres and six scrolled arms for candles also bearing lustres. The vase sup-
ports with festoons a large-galleried incurved hexagon below, which is also
festooned from the bouquet of the vase and with further festoons from its
crowning flowers. The hexagon is fringed with long faceted drops, and s sup-
ports double arms for lights at corners similarly enriched to the arms at —
crown. Three chains from the hexagon sustain a lustred galleried bowl ter-
minated with popes and large cut tt ball pendant. ey ee
(Illustrated) | : Ee | P “Sa A?
Lox . : ce |
3° 339—TWO CUIVRE DORE WALL meee en J
460 — Louis XVI . :
Y~ Bust of a nymph terminating in broad acanthus leaves scrolled with m
leaves and buds at foot. The nymph’s lowered rudimentary arms crol
upward in the form of acanthus leaves and buds into grape- ‘vine
fluted candle sockets. ue chiseled.
>,
| Height,
x ‘3
99909060 HO 9 OOD Er Q>OC
3
ire
e (ec DEO
on
No. 338—IMPORTANT LUSTRED OXIDIZED SILVER-PEAFED
CHANDELIER (Louis XVI Period)
ile
#0: 840—FOUR CUIVRE DORE, WALL APPLIQUES Louis XV Period
Scrolled open rocaille back, enriched with buds and leaves. ‘The scrolls of
the back continue into three irregularly scrolled arms for lights terminating
in leaf and bud vase sockets.
Height, 18 mches.
341—TWO CUIVRE DORE WALL APPLIQUES Louis XVI Period
70 . ‘Open ribbon back, bowknotted at crown and about center, where the ribbon
3 6° supports three floral arms for lights. Richly gilded. |
Height, 221% inches; width, 10% inches.
342—IMPORTANT SILVER AND ROCK-CRYSTAL CHANDELIER
: Lows XVI Period
ae Hexagonal balustered shaft, in four finely molded sections alternately of
qy 2 clear and milky white rock-crystal, interrupted by arched bands bearing
varied stellate shell and pear-shaped lustres; coronetted at crown with stel- =
late lustres forming a spreading bouquet of flowers. Four cuivre doré straps
scroll from the balustered shaft into a pear-shape and have candle sockets .
about shoulders; these are profusely enriched with further and more varied _
faceted, stellate and pear-shaped rock-crystal drops occasionally diversified
by some of smoked crystal, which add another feature of richness. Between
each of the straps rise three arms following the general contour to about the
shoulders of the pear-shape and there terminating in candle sockets; these _
have rock-crystal pendants in a like manner to the major body. The baluster
shaft is terminated with a clear crystal ball five inches in diameter.
Height, 5 feet 8 inches; width, 8 feet 101% inches.
(Illustrated)
>. 348—-TWO LUSTRED CUIVRE DORE CANDELABRA AND PED-—
59 ESTALS Louis XIV Style
oe Open scrolled seven-branched candelabrum; on round molded base. Lavishly
+ enriched with finely cut pendent lustres in varied cartouche and pear-shapes, —
stellated rosettes and drops. Pedestal, with tapering triangular shaft, bas- _
ket patterned and scrolled toward crown with acanthus leaves supporting
leaf-adorned round top. On tripod base, having fine recurring scrollings of
acanthus leaves and resting on rouge antique marble base. Fitted for elec- :
tricity. :
Total height, 9 feet 2 inches. a
H 436 A Negeri Batbo. J BO. ee:
No. 342—IMPORTANT SILVER AND ROCK-CRYSTAL
CHANDELIER (Louis XVI Period)
---—— = —
aI
@
7
EVENING SALE
THURSDAY, APRIL 5, 1923
IN THE ASSEMBLY HALL
OF
THE AMERICAN ART GALLERIES
BEGINNING AT 8.30 O'CLOCK
CATALOGUE NUMBERS 344 TO 435, INCLUSIVE
ab
EARLY ITALIAN, FLEMISH AND DUTCH PAINTINGS _
FLEMISH SCHOOL
No. 344
oe A SMALL TRIPTYCH
(Panel)
Center: Height, 1%, inches; width, 5°4 inches
Each wing: Height, 814, inches; width, 2Y inches
In the center: “Christ on the Cross.”
At the foot of the Cross are two of the Mare and St. Tone Evar
Landscape background with winding roads, a city and mountains.
Left wing: “Christ Bearing His Cross.”
Right wing: “Descent from the Cross.”
In black and gilt frame.
Purchased from A. Satori, Vienna.
Note: Archaistically reminiscent of the art of Albert Bouts. + ho ae ; y
HOALdIRLL TIVWS V-Pte "ON
"lOOHOS HSINW TI
ITALIAN SCHOOL
FirtEENTtTH CENTURY
No. 345
THE MADONNA AND CHILD WITH SAINTS ©
. (A Triptych on Oblong Base)
(Panel, arched below and gabled above)
Center panel: Height, 14 inches; width, 642 inches .
Each wing: Width, 3 inches 44 =
Peli +3,
Tur Madonna, seated on a throne in front of a cloth of honor, holds the nian eases
to her side. In front stands, on the left, St. John the Baptist, who holds a ser ls
inscribed: “Ecce Agnus . . .”; and on the right, Mary Magdalene with her p
of ointment. In the gabled upper portion of the painting God the Father is seen.
On the inside of each of the hinged wings is painted the full-length figure of a male _
saint. Presumably that on the left represents St. Paul and that on the right St.
Bernard. ait isn
Formerly the property of the Rev. Gerald S. Davies.
Purchased from René Gimpel, Paris.
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ITALIAN SCHOOL
No. 345—THE MADONNA AND CHILD WITH SAINTS
full-length figures of St. John the Baptist and St. Margaret, and in the right are _
EARLY ITALIAN SCHOOL
(A Small Triptych)
No. 346
MADONNA AND CHILD WITH SAINTS
(Panel)
Center: Height, 24 inches; width, 10 mches
Each wing: Height, 24 inches; width, 6 inches
THE Madonna, standing, presents the swaddled Child. On the left of the Vir- nt
gin is the diminutive half-length figure of a female Saint holding a palm-branch;
and on the right is a bearded and saintly Bishop. In the left foreground are small
St. Anthony Abbot and St. Catherine. In the center, and to the front, are three _
Angels. a,
In the upper portion of this gabled panel, and in a circle, is the Eternal.
In each of the wings (which did not originally form part of this painting) are six
Saints placed in pairs in three successive tiers; above these Saints, in each wing,
is an Angel.
Formerly the property of the Rev. Gerald S. Davies.
Purchased from René Gimpel, Paris.
On the back of the panel is affixed a paper which reads: “This triptych was bought Re i
me in Florence in September, 1877. It has been much destroyed by cleaning. The process —
has removed a great deal of colour.—Grratp S. Davies, Charterhouse, Godalming, 1877.”
EARLY ITALIAN SCHOOL
No. 346—MADONNA AND CHILD WITH SAINTS
AY
ATTRIBUTED TO GIOTTINO: FLORENTINE SCHOOL
(Fiovurisnep 1360)
No. 347
THE PASSION OF CHRIST
Height, 10 inches; length, 2714 inches
(Three Scenes, painted consecutively from left to right, represent “The Carry-
ing of the Cross,” “Christ on the Cross” and ‘The Deposition’)
On the left, Christ is attended by the three Marys and preceded by two Roman
soldiers, the foremost of whom carries a red shield inscribed: “S.P.Q.R.”; St.
Longinus gazes thoughtfully at the figure of the Crucified.
The feet of Christ, on the Cross, are clasped by Mary Magdalene; on the left and
right are the Virgin and St. John.
In the composition to the right the Virgin places her hands tenderly round the
head of the Saviour; in the foreground and at the back are other figures.
An oblong panel which was, doubtless, at one time part of a predella.
A sheet of paper affixed to the back of this panel states: “This picture, evidently of the
School of Giotto, was bought by me at Arezzo from Vincenzo Funghini, an engineer of that
town and a collector of antiquities, in May, 1876. It was in much the same state as now, ex-
cept that there.was much dirt upon it, which was removed by Mr. Henry Merritt shortly —
before his death in: July, 1877. The picture is painted in tempera on a ground spread thickly
over a strong cloth. It has evidently formed the gradino of a larger picture. It is possible
that this picture is the work of Giottino (an opinion in which Mr. Merritt concurred). A pic-—
ture in the Gallery at Pisa, by an unknown hand, closely resembles it—Grratp S. Davirs,
Charterhouse, 1877.”
Evhibited at the Royal Academy, 1880, No. 230, as of the Early Tuscan School.
Purchased from René Gimpel, Paris.
EARLY FLEMISH SCHOOL
No. 348
THREE VIRGIN MARTYRS
Each medallion: Height, 17% inches; width, 11% inches
Over-all measurement: Height, 1434 inches; length, 574 inches
Eacu has the head turned three-quarters to the left, but not in quite the same
attitude. Each has long fair hair falling on to the shoulders and holds a palm-
branch in the right hand. In red and blue robes, cut low at the breast and orna-
mented with jewels which contain precious stones; the heads nimbed. Each wears
a four-lobed ornament on the forehead. Each figure is placed in an ovoid medal-
lion, which has the background patterned with a floriated design.
SUALUVIN NIOUIA TAMEL—8te ‘on
IOOHOS HSINGATA A TUVE
LSIUHO AO NOISSVd HHI—LEE ‘ON
ONILLOID OL GQULOGMLLY
HERRI MET DE BLES
(Known as “CIVETTA”)
Earty Fiemisn Scuoou: 1480?—1550?
No. 349
THE REST ON THE FLIGHT INTO EGYPT
(Companion picture to No. 350)
(Panel)
Height, 34 inches; width, 914 inches
Tur Virgin, clad in a blue tunic with red sleeves, and an ample white man c
seated in the foreground; she offers her breast to the Infant. On the ground
her right side is a basket. Behind her is a wide-spreading romantic land
with tall trees. Figures approach along a winding road, at the side of which |
the shattered remains of an idol, which, according to the post-biblical leger
obeisance. Jurther back are houses by the edge of a lake; in the backgrou
many figures including mounted soldiers—emissaries of Herod—and a cast
river on which swans float. In the distance may be discerned a shepherd w
flock, and farther away a castle on a rocky eminence. Blue sky with setting
Purchased from the Seventeenth Century Gallery, New York.
Countess of Radnor and W. Barclay Squire: “Collection of the Earl of Radnor,” 1
I., No. 180, page 85. %
Maz J. Friedlinder: “Die Niederlindischen Manieristen,” 1921.
Max J. Friedlinder: “Die Antwerpener Manieristen von 1520,” in “Jahrb. Pr. Kes.
pp. 65-91. . ;
Sir Martin Conway: “The Van Eycks and their Followers,” 1921, page 355 and page
This picture and its companion are allied stylistically to many pictures of tl
and notably to a Triptych which was formerly in the collection of the King of Po:
to a large work which, in the collection of the Earl of Radnor, at Longford, was
regarded as the outstanding example of the art of Herri Met de Bles. For it was at
generally agreed that he introduced into his paintings an owl, “Civetta,” as a kit
manual, notably into a “Salvator Mundi” in the John G. Johnson Collection (No.
which is, however, to-day placed to the credit of the “Master of the Manzi Magdalene.”
mseee LY Hil As
NOWN
K
HERRI MET DE BLES
EGYPT
TO
No. 349—THE REST ON THE FLIGHT IN
productions of his immediate followers are numerous. These are classified by Friedlander 1 te
five main groups, and several have been assigned to Jan de Beer (1475—1536) and other
Antwerp Mannerists of about 1520-30. But it is now pretty generally agreed by the |
vanced critics that the personality, as well as the art of Bles, who takes his name from t
shock of hair that he grew on his forehead, presents difficulties. Sir Martin Conway, indeed
now claims that Bles may well have been identical with Henry Patinir, of Bouvignes.
HERRI MET DE BLES
(Known as “CIVETTA”)
Earzty Fiemisu Scuoou: 1480?—1550?
No. 350
THE ANN UNCIATION
(Companion picture to No. 849)
(Panel)
Height, 34 inches; width, 91% inches
Tue Virgin, wearing Her traditional robes, kneels before her prie-Dieu o
is an open book. On the ground on the left is a vase containing white li
Above, and farther back, is the Archangel Gabriel, who, clad in blue and
robes, brings the message while holding in the left hand a baton round v1
entwined a scroll inscribed with the words: AVE GRACIA PLENA _
NUS TECUM. A small oratory triptych is rendered on the dressoir in tl
background.
Purchased from the Seventeenth Century Gallery, New York.
Apparently by the same hand as the panel of the “Annunciation” in the polypt 7
signed to Herri Met de Bles, which is a later addition to the John G. Johnson Collec
is reproduced in the Connoisseur, March, 1918, pp. 147-150. i
HERRI MET DE BLES—Known as “CIVETTA”
No. 850—THE ANNUNCIATION
9)
FLORENTINE SCHOOL
(A Triptych)
No. 351
CHRIST ON THE CROSS
Center panel: Height, 25 inches; width, 11% inches
Each wing: Height, 20 inches; width, 5 inches
Tue figure of Christ is outlined against a gold background. His feet
suppedaneum. A Cherub and a Seraph on either side catch bloc
wounds. In the group at the foot of the Cross are the Virgin, St.
lene, St. John and other Saints and Roman soldiers. Aho the r
the Eternal seen within a trefoil. -
On the wings are the Archangel Gabriel and the Virgin. Below ar
length figures of Saints: those on the left, St. Margaret and St. Cath
right, St. Nicholas and a Warrior Saint.
Inscribed along the base: AVE MARIA GRATIA.
The back of the Triptych is in part cle in the center, a fatty, F
gules.
Purchased from René Gimpel, Paris.
A sheet of paper on the back of the Triptych states: “This Peneyeh was
in Florence in Sept., 1877. It is in the condition in which I purchased it and has
never been touched. It is evidently the work of a follower of Giotto. —Gurarp
Charterhouse, Godalming.”
FLORENTINE SCHOOL
No. 351—SMALL TRIPTYCH: CHRIST ON THE CROSS
nh
ATTRIBUTED TO PIETRO LORENZETTI
(Friourisuep 1305—1348)
352
THE MADONNA AND CHILD WITH SAINTS AND ANGELS
Arched panel: Height, 23 inches; width, 131% inches
Sratep on a high wooden throne, which is gable-shaped at the back, the Virgin,
in her robes of traditional colors, holds in her lap the Infant, who places the Tings
on the finger of St. Catherine, who stands on the left. Opposite St. Catherine,
but on the right side, stands St. John the Evangelist. In front of these Sain
are seen, facing each other, at the base of the throne, diminutive figures of St.
John the Baptist on the left, and St. Paul on the right. Below them, in tur
stand in the foreground St. Anthony (with crutch) on the left, and St. Chris-—
topher (with the Child and palm tree) on the right. In the center foreground
kneel two musical Angels. Above, and at the back of the throne, are two winged
Seraphim. Plain gold background.
Purchased from René Gimpel, Paris.
To the back of the panel is affixed a letter (which is now partly torn), signed by the Rev.
Gerald Davies, Master of the Charterhouse, which states: “This picture was purchased by me —
in May, 1876, at Arezzo from Vincenzo Funghini, an engineer of that town. The original —
frame had been wrenched from the panel and had, to judge from the marks, been of rie a
Gothic pattern. In bringing it home the panel got split down the middle. I placed it: in the
hands of Mr. Merritt, who mended the broken panel and replaced the detached fragments.
wonderful instance of . . . faithful restoration. . . . It is evidently by a good
master of the Sienese School. . . .” oe
Another letter from the same collector, written in 1917 from the Master’s Lodge,
terhouse, says: “After much consideration I am of opinion that this work is from the
of Pietro Lorenzetti. I can find no master whose work it resembles so closely. It has
been touched in any way, not even taken out of its frame since it left the hands of ‘He
Merritt 40 years ago.—Grratp S. Davies.” hes’
ATTRIBUTED TO PIETRO LORENZETTI
No. 352—THE MADONNA AND CHILD WITH SAINTS
AND ANGELS
SCHOOL OF ORCAGNA
353
THE CORONATION OF THE VIRGIN —
(Arched Panel)
Height, 30 inches; width, 21 inches
#
¢
Wrrutn a mandorla, or almond-shaped glory, set in a sky of burnished
see Christ and the Virgin seated side by side. Above them are two
between whom are two Seraphim whose ‘nee are deployed.
In the upper portion of this composition, but outside the niente
twelve musical Angels, six on either side, who are repr esented with a e
keyed organ, bagpipe or zither. : .
Arranged in three tiers in the lower portion of the painting are male
to the front, female Saints. On the left are St. Paul, St. John th
St. Anthony, St. John the Evangelist and St. James; and among
right, we may note St. Francis, St. Peter, St. Bartholomew and two o
cluded among the female Saints in the immediate foreground, which is
carpeted with foliated patterns which extend a long way back and is
for its strange perspective, are Saints SRE, Hee Me
Hungary and Margaret.
Formerly the property of the Rev. Gerald S. Davies.
Purchased from René Gimpel, Paris.
NA
SCHOOL OF ORCAG
353—THE CORONATION OF THE VIRGIN
No.
(6)
4, 0°
PAOLO VERONESE (1528-1588)
VENETIAN ScHOOL
No. 354 ab,
THE MADONNA AND CHILD WITH SAINTS —
+
(Canvas)
Height, 2144 inches; width, 29% inches
Tue Virgin is seated in the center, and holds the » Infant Chive an
turns toward St. Catherine who, dressed in the robes of a Princess \
els and holding a palm branch in her right hand, kneels to the ‘ight
position. In the left center, the Infant St. J ohn clasps the Child’s
On the extreme left is St. Elizabeth, who kneels before and. rests her
cradle. Architectural bucliaeroads dark sky in the center.
Formerly sold at Christie's, London.
Purchased from Richard Owen, Paris.
“An autograph work by Paolo Veronese painted in his earlier years. It i
and has much calm distinction. . . . Autograph paintings by Veronese
so numerous as is supposed. Cabinet pictures by him are few.”—Mr. Berenson |
PAOLO VERONESE: VENETIAN SCHOOL
No. 854—THE MADONNA AND CHILD WITH SAINTS
i oes
BARTHOLOMEUS BRUYN (1493-1553?)
GERMAN ScHOOL
No. 355
PORTRAIT OF A LADY
(Companion picture to No, 356)
(Panel)
Height, 20% inches; width, 9 inches
Seen at rather more than half-length; turned three-quarters to the left.
a black dress with red sleeves, a white chemisette and a white fur
from her white head-dress streamers fall on to her shoulders. She has 1
her fingers; in her right hand she holds a carnation; and her left rests on 1
before her. Red architectural setting. In the background to the left
seen in front of a tall building; hills in the right distance. a
Purchased from the Seventeenth Century Gallery, New York.
Ae
ae eee
Probably to be dated about 1535 and recalling the type of portrait, by B
is seen at Frankfort, Brussels and elsewhere, and in which a lady usually holds in
seh
hand a carnation in full bloom to denote her engagement. Yet a certain number }
traits have been ascribed to the Master of the Lower Rhine. 1a
BARTHOLOMEUS BRUYN (1493-1553?)
GERMAN ScHooL :
: No. 356 ieee oe
PORTRAIT OF A GENTLEMAN : i
(Companion picture to No. 855)
(Panel)
Height, 201% inches; width, 9 inches
RatTuHeER more than half-length, and turned three-quarters to the right.
dress with full sleeves; white under-shirt, round, soft black cap. The fii
right hand rest on a table; the left-is raised. Red architectural setting. —
background is a romantic landscape, with a castle set at the foot of a hill. ;
Purchased from the Seventeenth Century Gallery, New York.
BARTHOLOMEUS BRUYN: GERMAN SCHOOL
No. 855—PORTRAIT OF A LADY
No. 356—PORTRAIT OF A GENTLEMAN
LORENZO DI CREDI (1459-1537)
FLORENTINE ScHOOoL
No. 357
PORTRAIT OF A YOUNG MAN
(Panel)
Height, 18 inches; width, 14 inches
SrEN at half-length, the body turned to the left but the eyes directed to the
loosely over his left shoulder. His right hand grasps the drapery, but his
with the forefinger extended, points outward to some person or object thi
running down to a winding river and, beyond it, trees and mountains. In th rig
background, and immediately behind the young man’s head, is a pomegranate t
Jaden with fruit.
Mireur: “Dictionnaire des Ventes d’Art,” 1912, Vol. VII, page 12, under date of Apr
1866. at not
Purchased from Messrs. Gimpel & Wildenstein.
In the collection of the Comte de Janzé, in Paris, in 1867, it passed into that o ee
bal. In 1870 M. Timbal sold by far the greater part of his collection to M. Gustave Dreyfi
and only retained a very few works, and the majority of them he bequeathed to the Lo
M. Dreyfus, however, retained this picture for his friend, M. de Bernutz, and
passed out of the possession of Madame de Bernutz to Messrs. Gimpel & Wildens
1917 into this collection,
Here, as in Lorenzo di Credi’s “Portrait of a Lady” (1714" x 1234") in the co
Mr. Otto H. Kahn, there is a general similarity of design and clear observation. "
of each picture seems to be missing. ; . » Sea
In 1917 Mr. Berenson wrote of this portrait as follows: “It is an autograph p:
Lorenzo di Credi and worthy to rank with his best works. It is a branch in which h :
and Vasari makes special mention of his portraits of young men.—I can’t help thinking th
this portrait must have had as pendant the Portrait of a Young Woman—the bride of tl
bridegroom. He points to her with one hand, and with the other to himself and the -
granate bush behind him. The pomegranate was the Christian symbol of fecundity.”
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ASSES ELE OE
LORENZO DI CREDI: FLORENTINE SCHOOL
No. 357—PORTRAIT OF A YOUNG MAN
a
SPANISH SCHOOL
SEVENTEENTH CENTURY
| 358 |
ST. LAWRENCE, ST. DENIS, ST. SEBASTIAN AND ST.
Height, 7 feet 4 inches
A FOUR-FOLD wood screen, painted with full- ‘length figures with 3
the name of each is inscribed above.
1. St. Lawrence. In Deacon’s robes and phages the gridiron in his
~
2. St. Denis. In ecclesiastical robes aa with ee crozier; he holds in |
his own bearded head.
3. St. Sebastian. In fine raiment; his rigne hand on his sword, ar OW
hand.
4. St. Barbara. She holds the martyr’s nalitberagene in the right hai
hand a book, and on it her emblematic tower.
In carved Gothic frame.
VUVauva LS
GQNV NVILSV@as LS ‘SINAC \LS “AONAUMV'I \LS—8gE “0
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AYVOINAOD HINHAUINAAWS ‘TOOHOS HSINVdS
ENGRAVINGS IN COLORS
OF THE
EARLY ENGLISH AND FRENCH SCHOOLS
WILLIAM WARD, A.R.A.
EncutsH Encraver: 1766—1826
g0°’ 359 SELLING RABBITS
(Mezzotint Printed in Colors, 1809)
Height, 17°4 inches; length, 231% inches
Interior of thatched barn, lined at left with rabbit hutches; before them a
child and a peasant woman in red coat chaffering for a rabbit with the elderly
owners. ‘Two little girls are before a dog kennel, while the farmer’s son,
about center, exhibits a black rabbit to them. In inlaid satinwood frame.
Mezzotint after James Ward, R.A. Fine impression.
See Julia Franken, “James and William Ward,” page 257.
WILLIAM WARD, A.R.A.
Encuiso Encraver: 1766—1826
359s—THE CITIZEN’S RETREAT
900 (Mezzotint, Printed in Colors, 1796)
Height, 17°4 inches; length, 231% inches :
An elderly man in blue coat and wig sits contentedly smoking his pipe before
a thatched cottage. His daughter surrounded by her children is feeding
fowl in a peaked crate in the foreground. In inlaid satinwood frame. Mez-
zotint after James Ward, R.A. Fine impression.
See Julia Franken, “James and William Ward,” page 169.
EC EN aN and 1 PISO BNI alse:
15, Veatieiig wiltret v
aaa -
WILLIAM RYLAND
EncusH Encraver: EIGHTEENTH CENTURY
360—CYMON AND IPHIGENIA
(Printed in Colors, 1782)
Circular, 1144, mches
js ©
“The Fool of Nature Stood with Stupid Eyes.” The fair Iphigenia slumber-
ing near two nymphs in the foreground of a romantic landscape. Cymon, the —
shepherd, gazes at her aghast at her beauty. By Ryland. Framed. |
THOMAS BURKE
Encusn Encraver: Eicorrentru Century
360a—J UPITER AND CALISTA
(Printed in Colors, 1782)
J? ok; Circular, 1114, inches
Jupiter, disguised as the chaste Diana, seated under a rock, makes love to
the fair Calista; a knavish cupidon ts partially seen at right. “Diana’s shape
and habit straight he took . . . ” Appison. By Burke. Framed. Fine
impression.
LOUIS MARIN BONNET (MARIN)
1793
Frencu Encraver: 1748
361—THE MILKWOMAN
(Printed in Color, 1774)
Oval in own colored mat: Height, 11 inches; width, 9 inches
Half-length of a pretty peasant girl in red waist and lawn cap; seated with
her left hand on her brass milk can. Framed. Fine impression.
Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher,
in the imitation of which he sometimes even surpassed Demartin. He invented what
may be termed pastel engraving and also the art of printing in gold. See Bourcard.
Invented and engraved by Bonnet.
LOUIS MARIN BONNET (MARIN)
Frencu Encraver: 1743—1793
3614—THE WOMAN TA KING COFFEE
(Printed in Color, 1774)
Oval in own colored mat: Height, 11 inches; width, 9 inches
pe"
Bust of a Court Beauty pouring her coffee into a saucer to cool; she wears a
blue dress. Framed. Fine impression.
Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher,
in the imitation of which he sometimes even surpassed Demartin. He invented what
may be termed pastel engraving and also the art of printing in gold. See Bourcard.
Invented and engraved by Bonnet.
LOUIS MARIN BONNET (MARIN)
Frencn Encraver: 1743—1793
362—THE MILKWOMAN
0° (Printed in Color, 1774)
)3 Oval, in bun-colored mat: Height, 11 inches; width, 9 inches
Half-length of a pretty peasant girl in red waist and lawn cap; seated with
her left hand on her brass milk can. Framed. Fine impression.
Note: Louis Bonnet, often known as Marin, introduced pastel engraving and ¢
invented the art of printing in gold.
362a—THE WOMAN TAKING COFFEE
(Printed in Color, 1774)
Oval, in bun-colored mat: Height, 11 inches; width, 9 inches
q) 0. Bust of a Court Beauty pouring her coffee into a saucer to cool; she x
blue dress. Framed.
Note: Louis Bonnet, often known as Mache ravodecan pastel engraving and
invented the art of punting in gold.
PHILIBERT LOUIS DE BUCOURT
Frencu Encraver: 1755—1832
3683—LES DEUX BAISERS
(Printed in Colors, rea
ee 10°4 inches; length, 1414 inches
the painter to Ee
Note: Engraving in pastel manner after the engraver’s own desicua N
Fenaille, No. 7. Third state. Unusually fine impression, printed withens
Extremely rare in this condition.
From the famous Halsey Collection, No. 245.
(Illustrated)
AMBROY ORIO
Travian Encraver: Ericureenta Century
364—THE SORROWS OF WERTHER
(Print Colored by Hand)
70 . Circular, 9 inches —
Werther seated, in red coat near a spinet, a child at his knees trying i
his attention. A fair maid is entertaining him with music. In inlaid
wood frame.
Note: Painted by Angelica Kauffmann after Goethe’s visit to her in Rome. ee
SUHSIVGa XNA SH'T—E9E ON
LYNOoNd Ad STNOT LYAaITWHd
FR TL TE ETT
ee OE SEE A + PAPO RRM 9 AACS SBN
The Cerin :
Duy poeta
LOUIS MARIN BONNET (MARIN)
Frencu Encraver: 1743—1798
365—THE CHARMES OF THE MORNING
(Printed in Color, 1776)
30 0: Oval in own colored mat: Height, 11 inches; width, 9 inches
Three-quarter length of a beautiful young woman standing at her toilet in the
early morning. Framed. Fine impression.
Note: Louis Bonnet, often known as Marin, copied the crayon designs of Boucher,
in the imitation of which he sometimes even surpassed Demartin. He invented what
may be termed pastel engraving and also the art of printing in gold. See Bourcard.
Invented and engraved by Bonnet. .
FRANCOIS JANINET
Frencu Encraver: 1752—1813
366—NINA, OU LA FOLIE PAR AMOUR
e GO°.
Height, 121% inches; width, 914, inches
A young gir] attired in ivory silk frock is seated on a garden bench before a
wooded landscape, waiting for her lover. Engraving in gouache-manner
after Cl. Houin. Portalis and Beraldi No. 35. First state. Proof before
all letters, but with the engraver’s name traced with needle only. Printed
in colors; margin trimmed to plate line. Small insertion in upper margin, a
slight tear also repaired.
Note: He seems to have introduced color printing into France. ‘With them (the
best plates of Janinet) may be ranked the clever print in which Janinet reproduced the
portrait of Madame Dugazon by C. Houin as ‘Nina.’ ”—Lapy Dike.
From the famous Halsey Collection, No.482.
FRANCOIS JANINET
Frencu Encraver: 1752—1813 ; 2 d
367—LA COMPARAISON
(Printed in Colors, 1786)
Height, 14 inches; width, 11 inches
Two young women wearing ivory morning ‘robes, one standing, the other sit- x
ing, are comparing their varied charms. Framed.
Note: Engraving in gouache after N. Lavreince. Portalis and Beraldi, No. 40 es:
E. Bocher, No. 12. Third state. Impression with inscription, but lacking address.
From the famous Halsey Collection, No. 484.
FRANCOIS JANINET
Frencu Encraver: 1752—1813
368—L’INDISCRETION
ee
(Printed in Color, 1788)
Height, 14 inches; width, 11 inches
A girl visitor, to an agitated younger girl, seated and wearing a cream-white
dress, has taken from her friend a letter of considerable moment to the owner.
Note: Engraving in gouache manner after Lavreince. Portalis and Beraldi, No.
41; E. Bocher, No. 31. Second state. Proof before all letters, but with the en-
graver’s name traced with a needle. The girl seated shows her left foot and two curls
are added to her hair. With margin, but lacking plate line. Lady Dilke says of
“LIndiscrétion”: “Is not only one of his best, but one of the last among his work.”
From the famous Halsey Collection, No. 485 in the Catalogue, of which it was stated:
“The finest impression offered in the past fifteen years.”
EIGHTEENTH CENTURY FRENCH DRAWINGS AND
PASTELS
No. 369
FRANCOIS BOUCHER
Frencu: 1703—1770
THE LOVERS
4 ge (Chalk and Pencil Drawing)
Oval: Height, 10 inches; width, 8 inches
A YOUTH seen at half-length standing before an overgrown wall of a chateau, is
near a maiden who carries a basket of eggs, from which he tries to pilfer. A tthe
lad at left is amused at the attempt. ui
5
oe
(Companion to the following )
No. 370
FRANCOIS BOUCHER
Frencu: 1708—1770
GIRLS WITH BIRDCAGE
ee (Chalk and Pencil Drawing)
Oval: Height, 10 inches; width, 8 inches
Two young girls, one seated, the other standing, before an empty cage, have their
pets perched on their hands evidently comparing the singing qualities of the
birds.
(Companion to the preceding)
No. 371
-
*
SCHOOL OF DE LA TOURSa Xe
‘ie PORTRAIT OF A LADY
(Pastel) ‘
“Height, 17 inches; width, 14 inches
- Busr length, to the front, her head slightly inclined. Wearing
blue and white flowers in her hair, flowers at the breast. In a |
with a pink ruche with thin blue stripe. Large triple earrings |
s
SCHOOL OF DE LA TOUR
No. 371
—PORTRAIT OF A LADY
at
if
oe hes dae (Pastel) (ee
Nox See.
SCHOOL OF FRANCOIS BOUCHER
(Born in Paris in 1703; died there in 1770. Pupil of Frangois Lemoi
influenced by Watteau.) _
PORTRAIT OF A YOUNG LADY —
(Attributed to Francois Boucher) —
Height, 1584 inches; width, 12 inches
a blue pillow and is acnaed to her left shoulder. Her eyes ante ni
and she seems profoundly asleep. Her hair is arranged in twists a1
and flowers are in her head near her right ear. She wears a gown
and over it is a striped shawl. A ribbon is around tee
others it is et intonetate to compare it with a eae is Reakes » FOr
Doucet Collection, reproduced in Pierre de Nolhac: “Francois Boucher,” page |
senting “Jeune Fille & la Colombe.” aie.
ba cz:
se Wo GF
SCHOOL OF FRANCOIS BOUCHER
No. 372—PORTRAIT OF A YOUNG LADY
10°
wes Height, 17 inches; width, 13% inches
No. 373
JEAN MARC NATTIER
Frencu: 1685?—1766
(Pastel)
Bust length, to the front, the head turned three- -quarters to the right, «4
cut dress, with light blue corsage and white sleeves. A blue bow round he
her straw hat trimmed with blue bows. She was the wife of Mari
Gramont, Marquis de Vachére.
Collection 2 Se de Gramont, Duc de Caderousse, and sold February
Subsequently. in the collection of Jacques Poulze dIvry de la Foype. |
Purchased from ‘Gimp & Wildenstein.
oe Marc Nartier: Born in Paris in 1685; died there in 1766. eee
the French Court; painted also for the Russian Court. The most extensive (
paintings is to be found in the Palais de Versailles.
Gh Ge
”, =
*
JEAN MARC NATTIER
373—-PORTRAIT OF MADAME LOUISE MARIE GOUTHIER
oO
N
; No. 374
JEAN MARG NATTIER
Frencu: 1685—1766
PORTRAIT OF A COURT BEAUTY
(Pastel)
0) Py K ; ‘ ;
q y Height, 16 inches; width, 13 inches
Bust length, turned three- quarters to the left, and her head | in
cut black dress, trimmed with lace; blue bows in her powdered hai
her neck. *s
Purchased from Gimpel & Wildenstein,
erie
paintings is to ie found 3 in the Palais de Versailles
JEAN MARC NATTIER
No. 874—PORTRAIT OF A COURT BEAUTY
375
CHARLES ANTOINE COYPEL
Frencu: 1694—1752
PORTRAIT OF A LADY
(Pastel)
Height, 16 inches; width, 13 inches
Bust length, facing to the front, the eyes turned toward “he ene
pearls round her neck, in her ears and in her powdered hair. A biue
her hair falls down on to her shoulders.
.
Collection of M. de Fowviennes.
Cuartes Antone Coyper: Painter and engraver. Born in Paris in 1696;
in 1752. Pupil of his father, Antoine Coypel, whom he succeeded in his offici
“Premier Peintre” to the King, and as Director of the Academy and of the
and Designs. He was a very versatile artist. He executed, outside of religious.
logical canvases, many portraits in oil and pastel. He also decorated many
the Chateau de Versailles and made cartoons for a great number of tapestries
traits executed by him there are several in the Louvre, one of Adrienne Le
Countess de Boulaincourt Collection; one of Guillaume Aubourg and his wife in t
Levasseur Collection, etc. Coypel also executed the portraits of Louis XV, of |
Orléans, of Moliére and other famous personages.
CHARLES ANTOINE COYPEL
No, 375—PORTRAIT OF A LADY
Hl
EIGHTEENTH CENTURY FRENCH PAINTINGS
No. 376
JEAN BAPTISTE JOSEPH PATER
Frencu: 1696—1736
A PASTORAL SCENE
(Canvas) y
Height, 1614, inches; width, 1316 inches
(Companion to the following)
In a summer mene bounded on the left by a term and on the right b .
beneath the trees, a group of six persons are frolicking. On the right a lady,
ing a white satin dress, is playing on a musical instrument. More to the
by her side, kneels a man who is dressed in gay attire and knee-breeches. ;
ground, between his legs, is a small dog. Behind the two principal figure
a pierrot. In the background to the left are a young man and a’ girl
man. Blue sky.
Purchased from Gimpel & Wildenstein. dp. le :
Note: This and the following picture are very typical of Pater’s work, the pa
excellence of the “Fétes Galantes.” It is interesting, among others, to compare them y
Pastoral” in the Sir Edgar Vincent Collection, and with another in the Buckingham I
both reproduced by Eugéne Langevin in J, J. Foster’s “French Art from W.
Prud’hon,” Vol. II, pages 51 and 56.
Jean Baprtisre JosepH Pater: Born in Valenciennes in 1696; died in Paris
Pupil and imitator of Watteau. Some of his best works are to be found in the Ro
sian Palaces; there are also a number of them in the La Caze Collection in the
Buckingham Palace, in the Wallace Collection and elsewhere.
‘
4: %
,
4
JEAN BAPTISTE JOSEPH PATER
No. 376—A PASTORAL SCENE
$
ua
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No. 377
JEAN BAPTISTE JOSEPH PATER
_ FRENCH: 1696—1736
A PASTORAL SCENE
(Canvas)
Height, 16 inches; width, 13% inches —
(Companion to the preceding)
A Group of five figures in a garden in summer time. Seated in the
a tree, and wearing a white silk dress with white and pink corsage, is a
She is holding a music score and turns to the right toward a blue-clad f
on the ground at her feet, and more to the left, is another musician, ¥
in pink and holding his flageolet, has his back turned to the spectator.
back, in the middle distance, is a young lady, in bluish-yellow dress and
a blue hat, who is accompanied by a young gallant; he has a red cloak
shoulder. ‘They are about to walk away into the glade which is revea
right background.
JEAN BAPTISTE JOSEPH PATER
No. 877—A PASTORAL SCENE
}
No. 378
NICOLAS LANCRET
Frencu: 1670—1743
THE IMPRISONED alte
Ghayae
Height, yy inches; length, 141 inches
On the right, under a tree in a park, a young woman is sitting on a hillock |
She wears a yellow dress, with pink sleeves, and a light apron. Her he
toward the left, as she makes a feint of opening, with her right han the
a wicker-work bird-cage, from which the ‘ ‘imprisoned” bird is seeking
She is ready to seize the little creature in her left hand. | On the le %
let which he hgs just been playing.
Formerly im the el cor a of Lucien Surman, Pie ine sold Mag 11, 1912, N
Purcpaicd from Jacques Seeman
Note: A different version of the same picture by Laneret, salted “The Bi
is in the collection of the German Emperor and is reproduced by Eugéne ]
Foster’s “French Art from Watteau to Prud’hon,” Vol. I, page “8623
Nicoras Lancrer: Born in Paris in 1690; died there in 1743. Pupil a
in whose atelier he worked together with Watteau, whom he imitated very cl y.
by him are to be found in the Louvre, in the Wallace Collection in London, in Chan il
National Gallery in London and elsewhere.
’
NICOLAS LANCRET
No. 378—THE IMPRISONED BIRD
379
NICOLAS LANCRET
Frencu: 1690—1743
A CONVERSATION PIECE (“LES DEUX AMIS?)
(Canvas)
Height, 11 inches; width, 15 veka:
A croup of three persons, seen at full length in a summer landscape.
is a young lady, wearing a blue and white striped gown; she is seated on
neath a tree. More to the right a young gallant, in red attire, has his
her chin. Another gallant, taller and rather older, wearing knee-breeche
white-lined sleeves, nduanees to address the seated pair. AN ppena as o1
with a vista of spreading landscape. Blue sky. :
Engraved by Nicolas de Larmessin.
Mentioned in “Bocher” and in “Eloge de Lancret” by Ballot de Souk
Exhibition Sale, 1739.
Collection de la Nene 1858.
Collection Marquis de Crillon.
Collection Duc de Polignac.
Note: This picture is mentioned as an authentic work by Lancret, by Eugene ang
in J. J. Foster’s “French Art from Watteau to Prud’hon,” Vol. I, page 151. ;
Nicotas Lancrer: Born in Paris in 1690; died there in 1743. Pupil of Claude
in whose atelier he worked together with Watteau, whom he imitated very closely. —
by him are to be found in the Louvre, in the Wallace Collection in London, in tao
National Gallery in London and elsewhere.
NICOLAS LANCRET
No. 879—A CONVERSATION PIECE (“LES DEUX AMIS”)
No. 380
MADAME. VIGEE-LEBRUN |
Frencu: 1755—1842
PORTRAIT OF THE MARQUISE DE FONTENOY DE _
(Canvas—Oval) =
Height, 25 inches; width, 21 inches”
Hatr-Lenctu figure, dressed in brownish-blue, and wearing a wh
She is seated in a chair, with her back turned to the spectator. She tur
over her left shoulder. A fillet in her hair, which falls down on to
Blue background. ahs
Mentioned in the work by Pierre de Nolhac on Madame Vigée-Le Brun (.
figured at the “Exposition Rétrospective Féminine” in. +1908. qt -
collection of Mr. Féral.
Le Brun (Euisazern-Lovuisze Victr): Born in Paris in 1755; died in
painter of Marie Antoinette and her court. Active also in Vienna, D1
St. Petersburg. P
MADAME VIGEE-LEBRUN
No. 880—PORTRAIT OF THE MARQUISE DE FONTENOY DE
CHATENAY
oo.
No. 381
“FRANCOIS BOUCHER
Frencu: 1703—1770
THE SHEPHERD BOY (“LE PETIT BERGER” )
(Canvas)
Height, 21% inches; width, 191/, inches
legs. In the middle Aictance. and on lower ground, are a flock of oo.
beyond.
Jacques de Causon,
Said to have been engraved by Duflos.
Mentioned by P Michel: “F, Boucher,” page 87, No. 1558, as “Le Petit ‘Berger ud Ossi
contre un arbre”; said to have been included in a sale on April 29, 1892 an he d
to be the pendant toa “Petit Jardinier.”
Purchased from S. J. Frank, New York.
Francois Boucuer: Born in Paris in 1703; died there in 1770. Pupil of Frangc
Lemoine and influenced by Watteau, whose paintings and drawings he often etche
ceeded Van Loo in 1765 as “Premier Peintre du Roi.”
FRANCOIS BOUCHER
No. 3881—THE SHEPHERD BOY (“LE PETIT BERGER’)
7
‘
No. 382
FRANCOIS BOUCHER
Frencu: 17038—1770
pe ‘ AUTUMN (“LES DELICES DE L’AUTOMNE” )
1 (Companion to the following)
(Canvas)
Height, 20 inches; width, 28 inches
A youTuHFrutL shepherdess, in a white dress and a straw-hat trimmed with pink, is
seated beneath a tree; she receives an offering of grapes and flowers from a
young man, who is on the right and kneeling. More fruit and flowers are in
another basket near his hat in the right foreground. : Se
From the collection of the Vicomte Gabriel Chabut.
Purchased from S. J. Frank, New York. 1 ae
These works recall the much larger canvases by Boucher entitled “The Shepherd Watch-
ing” (No. 385) and “The Shepherd Piping” (No. 399), signed and dated 1745, in the Wal-
face Collection, London. (See the catalogue of 1913, and see A. Michel, **F. Boucher,” page
104.) They more closely resemble the famous set of four compositions entitled “Les Charmes _
du Printemps,” “Les Délices de ’Automne” and “les Amusements de l’Hiver” which we
painted by Boucher for Madame de Pompadour. The master in these works (which measu
the same as these two) produced an ewvre capitale, in which he displayed with brilliant suce
the infinite resources of his talent. That set, signed and dated 1755, was engraved by
Daullé and dedicated to “Madame de Pompadour, dame du Palais de la Reine.” After her
death they passed to her brother, the Marquis de Marigny, and appeared in his sale. They —
later passed to Madame Ridgway, and were in time included (Nos. 4, 5, 6 and 7) in the s
of her effects in Paris, December 8, 1904. They are dealt with by A. Michel, “F. Boucher
page 88, and illustrated in Les Arts, March, 1905; also they are mentioned by Pierre de N
hac, “F. Boucher,” 1907, page 150. The set of four is now in the collection on by
H. C. Frick, of New York. But they do not overshadow this pair. ;
Francors Boucurr: Born in Paris in 1703; died there in 1770. Pupil of Frangois
Lemoine and influenced by Watteau, whose paintings and drawings he often etched. He si
ceeded Van Loo in 1765 as “Premier Peintre du Roi.”
FRANCOIS BOUCHER
No. 382—AUTUMN (“LES DELICES DE L’AUTOMNE”)
No. 383
FRANCOIS BOUCHER.
Frencu: 1703—1770*
‘SPRING (“LES CHARMES DU PRINTEMP:
: (Companion to the preceding)
\e ae
61
(Canvas)
Height, 21 inches; width, 29 inches
A airt, wearing a voluminous yellow skirt and low-cut whi
a garden. A boy, dressed in light blue, and having a pin
ders, binds flowers in her hair. On the left, by the b boy’s gk
classical landscape i in the distance to the right.
FRANCOIS BOUCHER
SPRING (“LES CHARMES DU PRINTEMPS”)
No. 383
No. 384
JEAN HONORE FRAGONARD
Frencu: 1732—1806
THE HAPPY FAMILY (“L?7HEUREUX MENAGE” )
ce (Canvas—Circular)
Diameter, 13 inches ~~
) 1"
AN interior with three figures. Dressed in yellow and wearing knee-bre
father is lying almost at full length in an armchair. He is being cai
small child who, in a white dress with a red belt, is clambering up his body.
left the fair-haired mother, dressed in blue, leans against her husband’s che
regards the child tenderly. On the right is a ae and a er with its v
extended. % a ee
Didot Sale, April 3-5, 1825, No. 136.
Dubois Sale.
Otto Mundler Sale, November 27, 1871.
Comte Hondetol Sale, May 9, 1859.
Mend im de Goncourt’s “L’ Art au XVIIIeme Siécle.”
Mentioned in Pierre de Nolhac’s “Fragonard.”
Jean Honoré Fraconarp: Born at Grasse in 1732; died in Paris in 1809.
of Chardin, then of Boucher. French School.
JEAN HONORE FRAGONARD
No. 884—THE HAPPY FAMILY (“I7HEUREUX MENAGE”)
No. 385
JEAN HONORE FRAGONARD
Frencu: 1732—1806
PORTRAIT OF LE CHEVALIER DE BILLAUT
1 i ' : (Canvas)
( 2,
Height, 211% inches; width, 18 inches
Bust-Leneru, turned three-quarters to the left. In gay attire, sea
and resting his left arm over the back of it. Of about middle age,
powdered. .
From the collection of Vicomte Gabriel Chabut.
Purchased from S. J. Frank, New York, 1916.
Inscribed on the back of the canvas: “Portrait du Chevalier de Billaut,
régiment de Malwil, chevalier de St. Louis; peint par Fragonard, 4 M. le
This inscription is thoroughly accepted by Pierre de Nolhac: “Fragonard,” 1
it is to be also identified with the portrait included in the J. Lassalle Sale,
Drouot, Paris, December 16, 1901, No. 13. “3
Jean Honoré Fraconarp: Born at Grasse in 1782; died j in Paris in 1806.
of Chardin, then of Boucher. French School. ¥
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; ‘ Zoe 8 daw
i Amada Ni agro Rom bo Vil 6 AAW onli Se absuiis iii 8 6 SP il: Ai.
JEAN HONORE FRAGONARD
No. 885—PORTRAIT OF LE CHEVALIER DE BILLAUT
No. 386
JEAN ANTOINE WATTEAU
Frencu: 1684—1721
JUPITER AND. ANTIOPE
(Panel)
Height, 1014 inches; width, 814 inches
ANTIOPE, almost entirely nude and seen at full length as she reclines on green and
pink draperies beneath the wide-spreading branches of a tree, is being discovered
by the revolting Jupiter. He steadily approaches from behind the tree; in its
branches hangs the quiver of Cupid, who is seated in the left foreground and
holds a lighted torch in his right hand. Blue sky in the right background.
From the collection of Comte de Larsindy, and from the collection of the Comte de Mar-
bonne Peled.
Purchased from Gimpel & Wildenstein.
All lovers of the magnificent art of the short-lived Watteau will recall the larger, oval-
shaped and different composed painting of the same subject which, after being in the d’Aren-
berg, Bourlon de Sarty and Patureau Sales, passed into the Louvre. It is there (No. 991)
still admired as one of that Museum’s greatest treasures. Yet this were worthy to hang next
tots
This beautiful little picture is a slightly changed version of Watteau’s much larger and
famous picture in the Louvre, representing the same subject and reproduced in Edmond Pilon:
“Watteau et son école,” 1912, page 114. The Louvre picture is oval-shaped and shows An-
tiope sleeping with her left arm hanging down, while in the picture here reproduced it is
thrown around her head. As for the Cupid seated on the ground, his quiver and torch, they
are omitted in the Louvre picture, for which more probably the one here reproduced was a
preliminary study. In both pictures the flesh and coloring are of exquisite beauty.
Antoine Warrtrau: Born in Valenciennes in 1684; died at Nogent, near Vincennes, in
1721. Pupil of Claude Gillot. Was received by the Académie Royale in 1717 at the presen-
tation of his famous picture, “L’Embarquement pour l’Ile de Cythére,” in the Louvre. He
was the inventor and the head of the charming school of painters of ‘“Fétes Galantes,” and
one of the finest colorists among the artists of the eighteenth century.
JEAN ANTOINE WATTEAU
No. 386—JUPITER AND ANTIOPE
(1
fo LADIES BATHING (“LES BAIGNEUSES” )
No. 387
JEAN HONORE FRAGONARD
Frencu: 1732—1806
(Canvas)
Height, 27 inches; length, 834 inches
E1cur ladies in different postures, four of them already in the stream; the others a
are resting on the bank. The water runs apace, and rushes grow on the edge.
the stream. Overhanging trees on the near bank on the right, and others in mol
luxuriant foliage on the far bank on the left. Cloud cumuli in the sky.
This is said to have been at one time in the Waferdin Collection, but the “Baigneuses,”
“9 in that collection, sold in April, 1880, at the Hétel Drouot, is described as a P
measuring 63/, inches by 934 inches. Yet this painting of “Les Baigneuses” may
haps be identifiable with one in the Walferdin Collection. ¥
At one time in the collection of Baron de Beurnonville, and sold May 9-16, 1881, No
described in the catalogue as “a charming sketch; a repetition by the master of the
picture in the Lacaze Collection in the Louvre.” ~ ee
Subsequently in the possession of Baron Franchetti and of Vicomte Jacques de Causo
apparently also included in a Vente Judiciaire in June, 1887, ‘(Portalis, “Fragonare
1889, page ale) :
from either. (See Perales “Fragonard,” page 69.) a
In the “Exposition d’Qiuvres de Fragonard,” held in Paris, 1921, was included a
ture entitled “Baigneuses” (No. 30), of 1765-67, measuring 25 inches by 32 inches,
described as being from the collection of the Comtesse Tysziewicz and lent by Jean Bartho
It is a slightly different version,
of the Catalogue), belonging to the Duc de Feltre Collection and lent by Mxdase La
tesse H. de Gontaut-Biron, in Paris. As for the picture we are concerned with here,
also mentioned in the work by Pierre de Nolhac on Jean Honoré Fragonard, page 119.
JEAN Honort Fraconarp: Born at Grasse in ee died in Paris in 1806. Pupil :
of Chardin, then of Boucher. French School. ¥:
JEAN HONORE FRAGONARD
No. 387—LADIES BATHING (“LES BAIGNEUSES”)
No. 388
JEAN HONORE FRAGONARD
Frencu: 1732—1806
i | ce PORTRAIT OF MADEMOISELLE COLOMBE AS “VENUS”
(Canvas—Oval)
Height, 32 inches; width, 18% inches
Licut-ToneEb, classically conceived portrait. The young lady, with fair hair and
blue eyes, is seen at half length; in full face and nude to the waist. ‘The lower
part of her form is enveloped in pink and white draperies of flimsy texture.
With her right hand she points to her emblematic dove, in the right corner; in
her upraised left hand she holds the apple of Venus. Opaque clouds in the upper
sky that forms the light-keyed background.
Marie Thérése Théodore Rombocoli-Riggieri was born in Venice, October 22, 1754.
Taken, together with her sister Marie (called Adeline), to Paris while still a child by her
father, she entered the Comédie Italienne in 1766. There she became acquainted with the
Comte de Masserone, known as Lord Mazarin, who fell desperately in love with her, and, as it
is said, “bought her from her parents for 100 louis d’or.” Mlle. Colombe, as she was known
as a singer on the stage, gained an increasing reputation by the parts she played in “Le
Huron,” “Tom Jones,” “Le Biicheron,” ‘‘Lucile,”’ “Le Roi et le Fermier,” “Le Déserteur” and
such plays. She retired from the stage in 1788, after seventeen years of active work, with
a pension, and settled at Versailles, but her later life was not of high repute. Grimm said
that she “had the most beautiful eyes in the world.” Grimm, Bachaumont and Boldini praised
her very highly ; Faleonet executed her portrait in marble; also her contemporaries acknowl-
edged her beauty:
“chez elle il faut s’appareiller
Si dans ses mains je tombe
quelle me transforme en ramier.
Car j’aime la Colombe.”
Mlle. Colombe, or Colombe l’ainée, is distinguished from her sister Marie-Madeleine,
known also as Colombe Cadette or as Adeline. The latter was born at Florence, December
15, 1760, and died at Versailles, February 4, 1841. The portrait of Marie Madeleine Riggieri
(known as Adeline) was also painted by E. Fragonard, and that about 1775-76; it is an oval
and measures 23 inches by 19 inches. From the Doucet Sale, Paris, 1912 (No. 140), it passed
to Mme. L. G. Thompson, who lent it (No. 54) to the Fragonard Exhibition held in Paris in
1921. Another portrait of Adeline by Fragonard was found at Saint Brice in the countrv
house of her sister Mlle. Colombe—whence also comes the present work—and is to-day in the
collection of Baron Edouard de Rothschild.
From the collection of the Chateau de Saint Brice.
Bought from Gimpel & Wildenstein.
JeAN Honoré Fraconarp: Born at Grasse in 1732; died in Paris in 1806. Pupil first
of Chardin, then of Boucher. French School.
.
AN HONORE FRAGONARD
388—PORTRAIT OF MADEMOISELLE COLOMBE AS “VENUS”
JE
No.
No. 389
MAURICE QUENTIN DE LA TOUR
Frencu: 1704—1788
PORTRAIT OF A LADY
(Pastel—Oval)
Height, 23 inches; width, 19 inches
Sux is represented in an oval, half-length, facing toward the right and her head
turned to the left. She wears a gown cut low in front and trimmed with ribbons
and lace. Over it is a rich mantle trimmed with fur and around her neck is a
pearl necklace. Her soft wavy hair is combed back from her forehead and her
beautiful face has a smiling expression.
She was one of the daughters of Jean Pierre Roch de Chastagner, seigneur of Lagrange
and of Labruyére, who was a son of Jean Pierre de Chastagner de Lagrange, doctor and
lawyer, by his wife Demoiselle Marguerite de Teissier du Rossier de Tagnac; he married, Feb-
ruary 8, 1741, Demoiselle Marie Elisabeth de Mirman de La Tour, of the town of Saint
Ambroix. She was a daughter of Messire Frangois de Mirman, seigneur of La Tour, by his
wife Suzanne Bouzige of Lacoste. This Francois Mirman, of La Tour, was the brother of
the celebrated pastellist.
Another pastel portrait of this lady by La Tour, seen three-quarters to the left and
measuring 15 inches by 12 inches, is mentioned in the “Catalogue des Pastels de M. Quentin
de la Tour, composant La Collection de Saint-Quentin,” published in Paris, 1920, page 29.
Therein will be found much biographical matter regarding the family.
This pastel was purchased from Madame Plisent of Nice, France, née Chastagner de La-
grange.
A pastel head of the same lady, which probably was a sketch for the same picture, is
reproduced in Herman Erhard: “La Tour, der Pastellmaler Louis XV,” 1918, pl. 49a.
Maurice QuENTIN DE LA Tour: Born in Saint Quentin in 1704; died in 1788. Worked
only in pastel and was the most famous pastellist of the ‘time.
MAURICE QUENTIN DE LA TOUR
No. 389—PORTRAIT OF A LADY
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ATELIER OF THE DELLA ROBBIA
390—A RECTANGULAR GLAZED TERRA-COTTA RELIEF REP-
6°
RESENTING A CHERUB’S HEAD
Against a dark blue background is seen a six-winged cherub, glazed in white.
His hair is gilded and behind his head is seen a nimbus. Along the base is a
twisted pattern.
Height, 8% inches; width, 16 mches.
This cherub’s head, made in the Della Robbias’ atelier, has its prototype in An-
drea’s heads of cherubs, in whose atelier an innumerable number of them were pro-
duced. Among those still extant there is one in the Berlin Museum; one in the Berwind
Collection in Newport.
ATELIER OF ANDREA DELLA ROBBIA
—A GLAZED TERRA-COTTA RELIEF REPRESENTING THE
ADORATION OF THE INFANT JESUS
Florentine Late Fifteenth or Early Sixteenth Century
Within an arched niche, bordered by an egg-and-dart pattern, is seen the
Virgin, kneeling and adoring the Infant Jesus, reclining naked on a cushion.
Above, in the clouds, is seen the Eternal Father with uplifted hands, and
surrounding him are five winged cherubs. Nimbi are behind their heads.
The Holy Dove is seen at the left above the head of the Infant Jesus.
The exterior of the arch is bordered by a continuous garland of fruit and flow-
ers painted in various colors. On top, in the center, is a vase of flowers, and
at the base, below an egg-and-dart molding and a frieze of leaves, is seen a
winged and nimbed cherub’s head. Blue background.
Height, 41 inches; width, 261% inches.
This relief is derived from the LA VERNA altarpiece, the most popular of Andrea’s
compositions. A great number of variants of it are scattered in museums and private
collections. Some of them show the Madonna and Child with God the Father, six cher-
ubs and dove; others are with five cherubs and dove; still others with two cherubs,
dove and two angels, ete. Mr. Allan Marquand, in his work on Andrea della Robbia,
pages 19-42, gives a complete list of all these reliefs. As for reliefs showing exactly the
same composition as the relief here reproduced, there are, among others, the one for-
merly in the Spitzer Collection (Catalogue de la Collection Spitzer, 1893, Pl. XX XVIII,
No. 1288); one in the Berlin Museum (Frida Schottmiiller: “Die Italienischen und
Spanischen Bildwerke der Renaissance und des Barocks,” page 45, Fig. 103); one in
the Martin A. Ryerson Collection in Chicago (Marquand: “Andrea della Robbia,” Vol.
II, page 23, Fig. 150); one in the Church of Santa Maria in Consolazione in Genoa
(Marquand: Ibid., Vol. II, page 25, Fig. 151); two in | the National Museum in Flor-
ence, one in the South Kensington Museum, ete.
(Illustrated)
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ATELIER OF ANDREA DELLA ROBBIA
No. 391—A GLAZED TERRA-COTTA RELIEF REPRESENTING
SUS
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NFANT JE
THE ADORATION OF THE I
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392—A PAINTED TERRA-COTTA BUST REPRESENTING SAINT
CATHERINE OF SIENA Sienese, Sixteenth Century
Saint Catherine of Siena is seen facing to the front. She wears a white
wimple, framing her face and draped in front. Over it is a white veil and
over her shoulders a blue mantle. The face and eyes are painted in natural
colors. ‘The bust is standing on a yellow detachable stand.
Height, 141% inches; width of base, 18 inches.
Saint Catherine of Siena was a favorite subject with the Sienese artists, and busts
of the same kind are met with in museum and private collections. There is, among
others, the same bust in the Berlin Museum, given by Bode to Benedetto da Mejano
(Denkmiler . . . Pl. 436, page 111), and which Schubring in his work, “Die Plastik
Sienas im Quattrocento,” page 150, gives to Giovanni di Stefano.
FLORENTINE SCHOOL
393—ITALIAN MARBLE BUST OF AN INFANT
a Ee
Thin drapery falls from the left shoulder. The face slightly turned toward
the right. The hair parted down the middle and falling on to the nape of
the neck. On a green and gilt wood base. Found in a tomb.
Bust, 10% by 101% inches.
From the Lazzaront Collection, Rome.
Purchased from Canessa Brothers.
Note: Reminiscent of a bust by Desiderio da Settignano in the collection of M.
Gustave Dreyfus, and reproduced in Les: Arts, December, 1907, page 3.
)
et
394A SOUTH TYROL PAINTED AND GILDED STATUE REP-
RESENTING SAINT FLORIAN Late Fifteenth Century
Saint Florian is standing on a round wooden base, his legs crossed and wear-
ing a full armor over which is draped a mantle covering his back and shoul-
ders, attached in front with folds gathered under his left arm. The head of
the Saint is slightly bent forward, toward the right, and on his thick curly
hair is a rolled flat cap. Both forearms, which are missing, were originally
most probably holding a bucket or pitcher of water, recalling Saint Florian
in the act of extinguishing fire. Flesh painted in natural colors.
Height, 31 mches.
Formerly in the collection of Baron Eugen von Miiller zw Eichholz, in Vienna.
Reproduced in the work by Julius Leisching: “Figurale Holzplastik . . .,” Wien,
1908, Pl. 53, Fig. 111.
Saint Florian, one of the eight tutelar saints of Austria, who among other miracles
is said to have extinguished a conflagration by throwing a pitcher full of water over the
flames, is rarely or almost never met with in Italian art. He is a favorite Saint in Ger-
many and in Austria, and he is frequently represented there in paintings and in sculp-
tures. ‘The statue here reproduced belongs to the best specimens of its kind, and the
costume, as well as the type and the arrangement of the hair, is characteristic of the
Tyrolese art of the late fifteenth century.
(Illustrated)
LATE FIFTEENTH CENTURY
No. 394A SOUTH TYROL PAINTED AND GILDED STATUE
REPRESENTING SAINT FLORIAN
BY A FOLLOWER OF MICHELOZZO
395A TERRA-COTTA STATUETTE REPRESENTING SAINT
JOHN THE BAPTIST AS A CHILD
Florentine Late Fifteenth Century
Saint John the Baptist, wearing a short dress of animal skin which exposes his
0° chest, arms and legs, is getting up from a trunk of a tree against which he
! 4 was seated. He is about to walk toward the left. Over his left arm is draped
a mantle, and in his left hand is an unfolded scroll.
Height, 20 inches.
Purchased from Lowengard, Paris.
The subject of Saint John the Baptist, represented as a Child, was a favorite one
with the artists in Italy in the fifteenth century. 'The best known are those by Miche-
lozzo in the Opera del Duomo and in the National Museum in Florence; the one by Ver-
rocchio in the Berlin Museum, and the one by Rossellino in the National Museum in
Florence. In comparing the above-mentioned statuette with the ones just mentioned,
we find most analogies with the ones by Michelozzo, from which it undoubtedly derives.
(See reproduction in Venturi: “Storia dell’ Arte Italiana,” Vol. VI, page 365, Fig. 228;
and Alinari, No. 3715).
BY A FOLLOWER OF MICHELOZZO
No. 895—A TERRA-COTTA STATUETTE REPRESENTING SAINT
JOHN THE BAPTIST AS A CHILD
FINE OLD ITALIAN BRONZES
OF THE FIFTEENTH, SIXTEENTH AND SEVENTEENTH CENTURIES
396—A GILT BRONZE LOCK AND HASP
Italian (Roman) Second Half of Sixteenth Century
In the center, on the hasp, is seen the Goddess Ceres, standing and supporting
on her head a basket of corn. She wears a sleeveless floating gown girdled at
50> the waist. Below is the coat-of-arms of the princely Orsini family of Rome,
3 which are: ‘“Bandé de gu. et d’argent; au chef du sec., chargé d’une rose de
gu. et soutenu d’une devise d’or chargé d’une anguille ondoyante en fasce
dor.” These arms are represented at the left of the shield, while at the right
are those of an unidentified family by alliance. The lock itself shows a rich
decoration of trophies, vases, masks and two reclining human figures.
Affixed to a red velvet mount.
Extreme height, 934 inches; width, '7 inches.
The fact that this richly decorated and highly finished lock has been made for the
Orsini family is of the greatest interest. This princely family is among the most fa-
mous in Italy. Their erigin goes back to the tenth century and their principal titles
are: Seigneurs of Monterotondo; Counts of Nola, of Pitigliano, of Manupello, of Lecce;
Dukes of Bracciano, of Gravina, of Venosa; Princes of Tarente, ete. . . . Three
members of their family were elected Popes, one in 1191 under the name of Celestin III,
the second in 1277 as Nicolas III, and the third in 1724 as Benedict XIII. Other high
charges were held by members of the Orsini family on whom the titles of Prince of So-
lofra and the Prince of the Holy Empire were conferred.
(Illustrated)
397—_NORTH ITALIAN BRONZE MORTAR — Late Sixteenth Century
Circular and wide-mouthed. Ornamented with circular bands, the upper
having floral forms set between two medallions which contain the Sacred
ae ; Monogram; the lower band, of diversified anthemion pattern. Inscribed
Bi round the rm: SANCTA MARIA DI JESU, and dated MDLXXXXI.
On a detachable base. Dark patina.
Height, 111% inches.
This mortar is of excellent workmanship and shows the same form as a mortar of
an earlier period in the Louvre, reproduced in the Catalogue of Bronzes, page 47, No.
38.
ITALIAN (ROMAN) SECOND HALF OF THE SIXTEENTH
CENTURY
No. 396—A GILT BRONZE LOCK AND HASP
WORKSHOP OF ANDREA BRIOSCO (cattep IL RICCIO)
398—_ANTIQUE ITALIAN BRONZE CANDLESTICK
Paduan Sixteenth Century yo
b 50 ; The bronze candlestick is shaped in the form of a fish, with a human and
bearded head. The fins form the base and the candle-socket is set withm aS .
curve of the tail. Dark brown patina.
Height, 3% inches; length, 7 cee
It is interesting to compare this candlestick with two inkstands of the same charac-
ter in the National Museum in Florence and in the Estense Museum in Modena, repro-
duced in Bode: “The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. 46. _
~ WORKSHOP OF ANDREA BRIOSCO (catteD IL RICCIO)
399—A BRONZE LION, OR PANTHER Paduan Sixteenth Century
600.
The lion is trotting forward, his right front leg raised from the ground. His
head is turned toward the right and his mouth is slightly open. The long
tail is lashed between the legs and turned over the back.
Height, 4% inches.
Formerly in the S. E. Kennedy Collection in London; sold March, 1918, No. 429.
Purchased from Jacques Seligmann, Paris.
This animal, of excellent workmanship, is a slight variation of the walking lion in
the J. Pierpont Morgan Collection, reproduced in Bode: “The Italian Bronze Statuettes
of the Renaissance,” Vol. II, page 2, Fig. 13.
Dee
WORKSHOP OF ANDREA BRIOSCO (cattep IL RICCIO)
400—A BRONZE INKSTAND Paduan Early Sixteenth Century —
The inkstand is formed of a round vessel supported on the right shoulder of a
bearded man. He is kneeling on one leg and his left hand is placed on his
left knee while supporting the vessel or receptacle for ink with his right arm.
Brown patina.
Height, with base, 8 inches.
The composition is a derivation of the famous inkstand formerly in theTaylor Col-
lection in London, reproduced in Bode: “The Italian Bronze Statuettes of the Renais-
sance,” Vol. I, page 29, Fig. 23. There is a similar group in the Caruso Collection in 5 3
New York; another group showing great similarity is in the Martin le Roy Collection in
Paris, and still another in the Berlin Museum.
i
401—BRONZE INKSTAND: “CUPID AND A DOLPHIN”
Venetian Sixteenth Century
The quadrilateral cover, which is ornamented with female busts and, at each
corner, with the figure of an eagle with wings deployed, is surmounted by a
Cupid who reclines on the back of a dolphin. The quadrangular base is fluted
and ornamented with swags of foliage; at either end is an armorial shield, and
at either side a lion’s head. The interior has four compartments, and the tray
is removable. Brown patina.
Height, 8 inches; length, 884 inches; width, 6 inches.
Formerly in the collection of Edward Joseph, London.
Subsequently in that of S. E. Kennedy, London, and by him exhibited at the Royal
Academy, 1904, Case G, No. 14.
Sold at Christie’s, March 20, 1918, No. 405.
_Purchased from Jacques Seligmann, Paris.
The inkstand, of excellent and most decorative qualities, is a characteristic example
of Venetian workmanship in the second half of the sixteenth century. It shows similarity
in the conception and in the decoration with an inkstand formerly in the J. Pierpont
Morgan Collection, reproduced in Bode: “The Italian Bronze Statuettes in the Morgan
Collection,” Vol. II, Pl. 135, No. 197.
AFTER BENVENUTO CELLINI
402—ITALIAN CANDLESTICK
ae
Three winged putti touch the support of the candlestick as they move
it. Their feet tread on a garland of foliage placed on the ground. —
is triangular and rests on voluted feet. |
Height, 9
60°.
ATTRIBUTED TO BENVENUTO CELLINI
403—ITALIAN SIXTEENTH CENTURY BRONZE STATUETTE:
“MERCURY AND CUPID”
Mercury, without talaria, is standing; his left foot touches lightly his winged
petasus. With his right hand he holds a drapery to Cupid, who, on the ground
by his right side, places his left hand between Mercury’s petasus. Ona black
wood base. Brown patina.
Height, 7 inches; with base, 10 inches.
Purchased from Jacques Seligmann, Paris.
BY A FOLLOWER OF JACOPO SANSOVINO
404—A PAIR OF ITALIAN BRONZE URNS
Venetian Late Sixteenth Century
0: Around the body is a decoration of three heads of winged putti, placed be-
1° _ tween each two of the three handles. The lower part is decorated with
ae palmettes and acanthus leaves. On the rim is an egg-and-dart decoration.
55 Standing on brown yellow marble plinths. Brown patina.
Height, 111% inches.
Purchased from Jacques Seligmann, Paris.
405—PAIR OF BRONZE FIGURES Itahan Seventeenth Century
“Ho,
=) O Possibly by Alessandro Algardi or by an artist near to him. The one on the
left has turned his head toward the left; a drapery falls from his left shoul-
der and conceals his left hand; the right hand is raised above the head. Seated
4 woe ‘on a verde antico marble three-sided plinth.
The one on the right looks out wistfully toward the right, his left hand ex-
tended. A drapery conceals his right arm and, carried round the back of
his body, falls on to his left leg. Seated on a verde antico marble three-sided
plinth. Black patina.
Height, over all, 14 inches.
406—SIXTEENTH CENTURY VENE-
TIAN BRONZE GROUP OF
“HERCULES AND CERBERUS”
The God, represented standing, is nude.
His right arm placed behind him and rest-
ing on his hip. His left hand is raised and
grasps an arrow (detachable). He looks
down at the long-tailed three-headed mon-
ster which crouches at his feet. On a
rectangular base.
Height, 12 inches; with base, 1514 inches.
é
Purchased from Jacques Seligmann, Paris.
There is in the South Kensington Museum
in London an identical statuette of Hercules,
where the monster, however, is missing. It is
reproduced in Bode: “The Italian Bronze Stat-
uettes of the Renaissance,” Vol. III, Pl. 230,
where it is called Venetian, second half of the six-
teenth century.
&
407—BRONZE STATUETTE OF BACCHUS
00.
Italian Late Sixteenth or Early Seven-
teenth Century
Bacchus is represented full length, nude, ex-
cept for a goat’s skin falling over his left arm
across a small portion of his body. He is
slender and youthful and faces to the front with
flowing hair, his right arm thrown over his head
and the hand holding a bunch of grapes. In
the left hand, of which the arm hangs down, he
is holding another bunch of grapes. Below,
seated beside Bacchus, is a leopardess, raising
its paw and trying to reach up toward the
grapes. Dark brown patina. On a green
marble rectangular base.
Height, 9% inches; with base, 131% inches.
Purchased from Lowengard, Paris.
Another replica of the same statuette was for-
merly in the J. Pierpont Morgan Collection, coming
from the Pfungst Collection, and reproduced and
described by Bode: “The Collection of Bronzes in
the J. Pierpont Morgan Collection,” Vol. I, Pl. 70,
No. 104.
AFTER VERROCCHIO
408-—BRONZE EQUESTRIAN FIGURE OF COLLEONI
Reproduction, on a yery small seale, of the well-known statue of Bartolom-
meo Colleoni (died 1475), the famous condottiere, modeled in 1481 by
Andrea del Verrocechio and cast by Leopardi, and now placed in the Campo
Santi Giovanni e Paolo, Venice.
Height, i inches; the base, 7 inches high and 15 inches long. —
pos?
409—FLEMISH SEVENTEENTH CENTURY BRONZE GROUP:
“ST. GEORGE SLAYING THE DRAGON”
The soldier Saint, mounted on his steed, which prances over the form of the
half-conquered dragon, is about to deliver the final blow. On a brown wood
base.
Height, 814 inches; with base, 111% inches.
0
9)
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410—A PAIR OF BRONZE CANDLESTICKS
sae
ALESSANDRO VITTORIA
Venetian Second Half of Sixteenth C
Fach candlestick is formed by a nude figure of a boy supporting
arms, against his head, a fluted vase which serves for the socket for
dle. The base upon which the figures are standing is formed of thi
horses resting their front feet on strapwork pattern. Three winged p
placed between them. The feet of each candlestick are decorated w
thus leaves.
Formerly in the J. E, Taylor Collection in London.
Reproduced and described in the Sale Catalogue, July 1, 1912, Pl. 10, as by J
Sansovino. tae
The attribution of the candlesticks to Alessandro Vittoria is based on the
they bear a close relationship with his works. An identical candlestick comin
Simon Collection in Berlin is reproduced by Bode: “The Italian Bronze Statu
Renaissance,” Vol. III, Pl. 204, and is given by him to Alessandro Vittoria.
of the same kind, holding a vase on his head, is in the Imperial Museum in Vie
is reproduced in Julius von Schlosser: “Werke der Kleinplastik in der
Sammlung des Allerhéchsten Kaiserhauses,” Vol. I, Pl. XX, No. 4.
(Illustrated)
SMOLLSHIGNVO LAMOINd AZNOUM AO UIVd V—OlLF ON
VIHOLLIA OHGNVSSHWITV
35°
411—A BRONZE INKSTAND IN THE MANNER OF ALESSANDRO
VITTORIA
Three winged and bearded satyrs whose bodies terminate in dolphins’ tails
support the receptacle for the ink, formed of a round bowl with cover and
decorated with a conventional leaf-work pattern.
Height, 7% mches.
The lower part of the inkstand, which is the interesting part, shows great similarity
in the decoration and in the conception with candlesticks formerly in the J. Pier-
pont Morgan Collection, given to Alessandro Vittoria and reproduced in Bode: ‘‘Cata-
logue of Bronzes in the J. Pierpont Morgan Collection,” Vol. II, Pl. 137, No. 200.
412—EARLY SIXTEENTH CENTURY ITALIAN PADUAN
BRONZE INKSTAND: “GOOSE AND GANDER”
Designed as a group of two birds placed on a tuft of grass and set on a base
cast with three cherub-heads, foliage and scrolls. The whole is set on a tri-
angular grained red marble plinth. Dark patina.
Height, 7% inches; with base, height, 8% imches.
Formerly in the collection of S. E. Kennedy, London, sold March 20, 1918, No. 416.
Purchased from Jacques Seligmann, Paris.
This inkstand, which is of excellent quality, is a characteristic specimen of Paduan
workmanship of the School of Riccio in the early sixteenth century.
418—SIXTEENTH CENTURY VENETIAN BRONZE FIGURE
On A Centaur lying on the ground with fore feet extended as if about to rise. —
0 Holds a club in cored right hand, and a shield of clas sical design on the
left fore arm. On a dark green marble base.
lb
Height, 634 inches; length, 8% inches. —
Bought from J. & S. Goldschmidt.
Referred to by Dr. von Bode, in a letter of Oct. 23, 1912, as follows: “The bronze _
you showed me, a ‘Centaur with a Club and in his Left Hand a Shield,’ is a fine Italian te
example of the 16th century, I have never seen this model before. Judging from the —
shape of the shield, this bronze is of the Venetian or Paduan school.”
414—EARLY SIXTEENTH CENTURY PADUAN BRONZE INK-
STAND: “PROMETHEUS AND THE EAGLE”
The nude, bearded figure is lying face upward, with his back arched and his
knees bent and bound to the rock. His head rests on a projecting stump, to
which his right hand is attached. His left hand is manacled to the ground.
gi) “0. The cover of the inkstand fits into an aperture in his breast and is formed of
an eagle standing on a tuft with wings outspread. The base is formed of four
projecting arms and is inscribed: BERNARDINUS MAGISTER LU-
CELLUS IVD. Dark brown patina.
Height, 8 inches; length, 10 inches.
Exhibited at the Burlington Fine Arts Club, 1912, No. 62, Plate XX XI, page 79.
From the collection of S. E. Kennedy, London.
Purchased from Jacques Seligmann, Paris.
415—SIXTEENTH CENTURY ITALIAN BRONZE MOI
¥
Finely chased in each quarter with allegorical scenes, set abor c
age which, at each side, depend from masks. In the center of e
armorial shield, displaying the arms of the House of Este, and o
ae
Base: Height, at, thé
From the collections of Louis Huth, E. Govett and S. E. Kennedy,
a Wl
Purchased from Duveen Brothers. a a ae
— (IIlustrated)
. ‘ et
3
“. ~ it
Yi Le
SCHOOL OF JACOPO SANSOVINO
416—BRONZE INKSTAND IN THE FORM OF A MERMAID
Venetian Second Half of Siateenth Century
0: A nude seated female figure is seen to below the waist, the lower part of her |
0 body ending in twisted fishtails. Between them is placed the receptacle for —
ink, and the cover of it is formed by the head of Medusa. The whole rests —
upon ball feet, and in front is seen a coat-of-arms, most probably belonging ©
to the Trevisan family of Venice: “Gold, a band gules with six stars of same
in orle.” The mermaid, or sea-nymph, wears a helmet on her head and her 7”
body is slightly bent forward, while she looks in front of her. She is holding he
on to the rim of the inkstand with one hand, while in the other is a book on
the cover of which is inscribed PROTOCOLI', H.A. :
Height, 5Ys inchs.
Te
Formerly in the collection of Sir George Donaldson of London, who sold it privately
to S. E, Kennedy. >
Purchased from Duveen Brothers.
Another inkstand of identical form was formerly in the J. Pierpont Morgan Col-
lection (Bode: “Catalogue of Bronzes in the J. Pierpont Morgan Collection,” Vol. II,
Pl. 129, No. 188) ; still another is in the Foulc Collection in Paris (Bode: “The Italian
Bronze Statuettes of the Renaissance,” Vol. Il, Pl. 169). Bode in speaking of the Mor-
gan inkstand, in the introduction to the Catalogue, page xxxvi, says: “An in -
stand of fantastic design also belongs to the school of Sansovino—a mermaid wearing ©
a helmet and holding between her twisted fishtails a wide-mouthed receptacle to hold the 8
ink. ‘This inkstand ek have been very popular in Venice as a number of copies of it ;
have come down to us.’
(I Tlastrated
SCHOOL OF JACOPO SANSOVINO
No. 416—BRONZE INKSTAND IN THE FORM OF A MERMAID
qin
417-ITALIAN BRONZE GROUP: “FEMALE SATYR WITH |
ANDREA RICCIO (1470-1532)
FANT”
The Satyr is seated on a tree-trunk and holds a conch in her right
small satyr on the right in front. On a hexagonal base. Light bro
tina. :
) Height, 9
Formerly in the collection of Isaac Falcke, sold April 19, 1910, No. 44. |
Purchased from Duveen Brothers.
Similar groups by Riccio are in the Berlin Museum and in the Ducal M
Brunswick. They are reproduced in Bode: “The Italian Bronze Statuettes
Renaissance,” Vol. I, Pl. XLIV. :
*
BY ANDREA RICCIO
No. 417—ITALIAN BRONZE GROUP: “FEMALE SATYR WITH
INFANT”
418—EARLY SIXTEENTH CENTURY PADUAN BRONZE BOY
ie OR WINE-COOLER a
ia \7 Elaborately decorated with festoons of foliage and, below, with confront
and rampant wyverns or griffins; anthemion patterns along the rim. ‘The
foot supporting the base is modern. Placed on an irregularly quadr
base set round with masks and supported by four heads of putti. Bre
tina. On a black octagonal pedestal. Foot modern. ae
Height, 7° inches; diameter of bowl, 10
Formerly in the J. Pierpont Morgan Collection, and illustrated in Dr. von
“Catalogue,” Plate CXXXI. -
— neh
fname rere y SW Au |
7
No. 418—EARLY SIXTEENTH CENTURY PADUAN BRONZE BOWL
OR WINE-COOLER
BARTOLOMMEO BELLANO
(Born about 1430 at Padua; died there in 1498.)
419—BRONZE STATUETTE REPRESENTING DAVID STAN
ING ON THE HEAD OF GOLIATH ae
Paduan Second Half of the Fifteenth Cen
David is represented full length, with long curly hair and wearing a_
tunic girdled at the waist. A sling is across his shoulder. He is loo
down at the head of Goliath, lying at his feet, and into which he pl
sword held in his right hand. Placed on a square ebonized plinth. |
tina.
Height, 97%
Formerly in the Pfungst, J. P. Morgan and J, E. Taylor Collections.
Reproduced and described in Bode: “The Collection of Bronzes in the J. Pier: D0
gan Collection,” Vol. I, Pl. XV, No. 18. i.
Reproduced and described in the Catalogue of the J. E. Taylor Collection, Sa
1, 1912, Pl No, 1A;
Purchased from Duveen Brothers,
The group is of great importance, as well for its artistic achievement and
as for the fact that it is a characteristic specimen of Bartolommeo Bellano’s
ship. The subject itself was in great favor with the artists of the time.
known specimens of the same composition are those in the South Kensington M
London and in the Foule Collection in Paris, reproduced in Bode: “The Italia
Statuettes of the Renaissance,” Vol. I, Pl. XX. In speaking of them, page
calls the David and Goliath composition “, . . one of the artist’s leading br
and his masterpiece.” arr ony itn: Se
BY BARTOLOMMEKO BELLANO
No. 419—BRONZE STATUETTE REPRESENTING DAVID STANDING
ON THE HEAD OF GOLIATH
a
420A BRONZE GROUP REPRESENTING NEPTUNE AND
BARTOLOMMEO BELLANO
(Born in Padua about 1430; died there in 1498)
(Formerly Attributed to Andrea Riccio)
MONSTER Paduan Late Fifteenth C
The Marine God is represented nude, standing on the back of the sea
which he was originally holding with a chain, now broken off. In the
hand he is holding the trident, while looking down at the monster. E
is massive, his hair thick and curly and his beard is thick and cut short.
Formerly in the Bucquet Collection. Height, 17 i
Purchased from Jacques Seligmann, Paris.
The figure of Neptune is of excellent workmanship. The group itself :
slightly different version of the famous group formerly in the Spitzer, Hainaue
Pierpont Morgan Collections, reproduced, among others, in the “Catalogue of B
in the J. Pierpont Morgan Collection” by Bode, Vol. I, Pl. XVI, No. 19, and in
“The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. XXIV, where ar
reproduced two other versions of the same subject, in the National Museum in FE
All these statuettes have formerly been attributed to Andrea Riccio.
BY BARTOLOMMEO BELLANO
(Formerly Attributed to Andrea Riccio)
No. 420—A BRONZE GROUP REPRESENTING NEPTUNE AND THE
MONSTER
-421-VERY FINE SIXTEENTH CENTURY ITALIAN BRONZI
ATTRIBUTED TO ANDREA RICCIO (1470-1532)
INCENSE BURNER
The body is round in form and ornamented with three male statues. S
ing these statues there is a mask with protruding tongue, surmounted
eagle which has settled on a swag of foliage. The base rests on three f
mented with half figures. A faun, holding grapes in his right hand a
pipes in his left, is seated on the cover, which is decorated with Medusa
shells and foliage, which in turn rests on the bodies of three reclining
é | her Height, 1
Purchased from Jacques Seligmann, Paris.
The incense burner is one of the very fine specimens of Renaissance bro
other, almost identical, examples by Riccio are in the collections of Sir Ju
her in London and Baron Gustave de Rothschild in Paris. See reproductic
“The Italian Bronze Statuettes of the Renaissance,” Vol. I, Pl. LX.
ATTRIBUTED TO ANDREA RICCIO
No. 421—VERY FINE SIXTEENTH CENTURY ITALIAN BRONZE
INCENSE BURNER
ADRIEN DE VRIES
(Born at The Hague in 1560; died after 1603. Pupil of Giovanni Bologna) ae
- (1 0
50 es
A I 422 BRONZE GROUP REPRESENTING HERCULES, DELIA}
AND NESSUS Italian Early Seventeenth Cer
Trampling on the defeated Nessus is seen Hercules naked, with thick
hair and a short beard, and holding on his arms Deianira whom he fr
the monster. Deianira is equally represented naked, except for a
around her loins. Her thick curly hair is arranged high on her head. B
patina. Placed on a red porphyry base. 2
Height, 34
Exhibited in Paris in 1913 in the “Exposition d’art du Moyen Age,” and reproa
its Catalogue, page 47, No. 94,
There is a great similarity in the types with a group of “Triton and Na
Adrien de Vries formerly in the J. Pierpont Morgan Collection, reproduced i
“Catalogue of Bronzes in the J. Pierpont Morgan Collection,” Vol. Il, Pl. 114,
165. An identical group, but showing somewhat different types, is in the
Museum in Vienna, where it is attributed to another of Gian Bologna’s pupils, t
Francavilla. (See reproduction in Julius von Schlosser: “Werke der Kleinp!
der Skulpturensammlung des Allerhéchsten Kaiserhauses,” Vol. I, Pl. XX XV.
BY ADRIEN DE VRIES
No. 422—BRONZE GROUP REPRESENTING HERCULES, DEIANIRA
AND NESSUS
423—BRONZE STATUETTE OF “HEBE”
ADRIEN DE VRIES
(Born at The Hague in 1560; died after 1603. Pupil of Giovanni Bologna) _
Full length, nude, standing and holding a cup in her upraised |
Her right hand, grasping a drapery, holds a ewer, which she p:
her right thigh. Her left leg, bent forward at the knee, rests
back of a tortoise. On a square gray porphyry and mottled green
base. Dark brown patina. | AS
Purchased from J. and S. Goldschmidt.
A fine group of excellent workmanship.
ADRIEN DE VRIES
No. 423—BRONZE STATUETTE OF “HEBE”
ae
424A BRONZE.LAMP ATTRIBUTED TO PIETRO TACCA —
Florentine Early Seventeenth Ce
The top formed in classical shape, with figure of Vulcan blowing a pair of
lows; the stem formed of three caryatides, back to back. At each co
the triangular plinth is a figure of an eagle with outspread wings; the
itself is decorated with the arms of the Imperata family set in oblong e
touches and supported on feet formed of aM Dark brown patina. ae
Height, 164% in
From the collection of the Duke of Marlborough at Blenheim Palace.
Subsequently the “Property of a Nobleman,” and sold at Christie’s, London, on :
25, 1912, No. 63. ;
It is interesting to compare this lamp with an inkstand by Pietro Tacca |
in the J. Pierpont Morgan Collection reproduced in Bode: “The Collection of B
in the J. Pierpont Morgan Collection,” Vol. II, Pl. 112, No. 158, in which the
tion is very similar,
ATTRIBUTED TO PIETRO TACCA
No. 424-—A BRONZE LAMP (Florentine Early Seventeenth Century)
“HERCULES AND. CAC us”
Hercules, brandishing his club in his right hand, is, with his left hand, tr
to force away from him the robber Cacus, who endeavors to pull his e
to the ground. Hercules is nude but for his lion’s skin, which, in ee
has slipped from his loins. Dark brown patina.
Height, 1
Purchased from Jacques Seligmann, Paris. c
There are great similar ese ate group by Giovanni Bologna in the L
resenting the same subject and reproduced i in pee “The Italian Bronze
the Renaissance,” Vol. III, Pl. 198, °
ATTRIBUTED TO GIAN DA BOLOGNA
No. 425—ITALIAN LATE SIXTEENTH CENTURY BRONZE GROUP:
“HERCULES AND CACUS”
oe sre 1
426—A BRONZE GROUP REPRESENTING HERCULES SLAY
Ne
SCHOOL OF GIAN DA BOLOGNA
THE HYDRA Florentine Late Sixteenth
Standing, a massive nude form, Hercules holds a torch in his uplifte
hand. With his left he has seized the head of the Hydra, with which |
to crush the body of the giant hero. On an oval base. Fr eee
Height, |
Formerly in the L. L. Neumann Cree London, sold July 3, 1919, No.
This group is a fine and interesting specimen and shows great analogies
group in the Louvre by Gian Bologna representing the same subject, but i
figure of the hydra is missing. (See reproduction in Bode: “The Teale B
uettes of the Renaissance,” Vol. III, Pl. 199.)
Ay,
“a
SCHOOL OF GIAN DA BOLOGNA
No. 426—A BRONZE GROUP REPRESENTING HERCULES
SLAYING THE HYDRA
fee
©!
427—A BRONZE GROUP REPRESENTING JUPITER AND
CLOSELY RELATED TO JACOPO SANSOVINO.
EAGLE Italian Second Half of the Sixteenth
The God, standing nude and at his full length, with his left hand to |
and holding a thunderbolt in his right. His right foot is placed on
of his emblematic eagle, who looks up as if prepared to do his biddir
whole is placed on a quadrangular base ornamented on each side wi
gon’s head set above a swag of foliage. Dark patina. cia
Height,
Purchased from Jacques Seligmann, Paris.
This statuette, representing Zeus with his sacred and customary att
very fine workmanship. It is interesting to compare with it a group represent
same subject in the Imperial Museum in Vienna of the School of Jacopo Sanso
produced in Julius von Schlosser: “Werke der Kleinplastik des Allerhéchsten
hauses,” Vol): 1, PL XEX ANG ete ‘
CLOSELY RELATED TO JACOPO SANSOVINO
No. 427—A BRONZE GROUP REPRESENTING JUPITER AND THE
EAGLE
Lee
4283—ITALIAN BRONZE STATUETTE OF THE: “FARNESE
HERCULES”
Seen nude and standing at his full height, bearded and severe of aspect. His
left foot advanced. His right hand placed behind his back. His left hand
rests on the lion’s skin, which, placed upon his club, rests upon a tree trunk.
Dark patina.
Height, 15 inches.
Purchased from S. E. Letts.
This statuette is made after the Farnese Hercules in the National Museum at
Naples which was found at Rome in the Therme of Caracalla in 1540.
WORKSHOP OF GIAN DA BOLOGNA
FOUR BRONZE GROUPS (ITALIAN LATE SIXTEENTH CENTURY)
REPRESENTING THE LABORS OF HERCULES
First—HERCULES SLAYING THE NEMEAN LION
Second—HERCULES WRESTLING WITH THE CRETAN BULL
Third—HERCULES AND THE LERNEAN HYDRA
Fourth—HERCULES WRESTLING WITH ANTAEUS
Nos. 429 to 432, inclusive
The Labors of Hercules were a favorite subject with the artists of the Renaissance
period and especially with the Florentine artists, such as Gian Bologna and his followers.
The principal Museums and private collections possess groups representing these labors. Some
of them are by Gian Bologna himself, others are made in his atelier, still others are by his
followers or contemporaries. The examples mentioned above and illustrated in the following
pages are characteristic of the workship of Gian Bologna, and examples of the same kind can
be found in the National Museum in Florence, in the Louvre, in the Wallace Collection in Lon-
don, in the Castello Sforzesco in Milan, and elsewhere.
WORKSHOP OF GIAN DA BOLOGNA
429 HERCULES SLAYING THE NEMEAN LION
I ‘talian Late Sie
s Hercules is ee naked, with short thick hair and beard. He is st n
iv ing in an attitude of great tension, trying to tear open, with both hands, :
mouth of the Nemean lion, which was considered invulnerable. The lion
defending its life with its claws and is trying to pull Hercules down. Bri
patina. Standing on a rectangular base.
oT
Height, 12% in
Purchased from J. & S. Goldschmidt. S
Reproduced in Bode: “The Ttalian Bronze Statuettes of. rhe Renna
page 8, No. 11.
WORKSHOP OF GIAN DA BOLOGNA
No. 429—HERCULES SLAYING THE NEMEAN LION
WORKSHOP OF GIAN DA BOLOGNA
430—HERCULES WRESTLING WITH THE CRETAN BUlAm@
. Italian Late Sixteenth Centu
Standing on a Fectananior base.
Purchased from J. & S. Goldschmidt. a
Statuettes of the Renaissance,” Vol. III, Pi. 199. @ ‘ee ~
WORKSHOP OF GIAN DA BOLOGNA
. 480—HERCULES WRESTLING WITH THE CRETAN BULL
sone
43.—HERCULES AND THE LERNEAN HYDRA
WORKSHOP OF GIAN DA BOLOGNA
Italian Late Siateenth -
Hercules is seen naked, with thick curly hair and short beard. He is:
over the Hydra of Lerna in the act of giving it the final blow with
which he is holding in the upraised right hand, while with the other
is seizing the animal by its tail. Oe Ee Standing on a rec’
base. :
Purchased from J. & S. Goldschmidt. 3
Reproduced in Bode: “The Italian Bronze Statuettes of the Renaissance,”
page 10, No, 13.
It is interesting to compare this group a one representing the same s
Gian Bologna, reproduced in the work by Bode Ses ie above, Vol. III, P :
*
we
WORKSHOP OF GIAN DA BOLOGNA
No. 431—HERCULES AND THE LERNEAN HYDRA
0
re
432—HERCULES WRESTLING WITH ANTAUS
WORKSHOP OF GIAN DA BOLOGNA
Italian Late Sixteenth Centu
The nude Hercules is represented standing with his legs wide apart, and
his body thrown backward. His attitude shows great tension in his act ¢
tina. Standing on a triangular base.
Purchased from J. & S. Goldschmidt.
The composition of this group is exactly the same as the group representing t
same subject in the Louvre and executed by Gian Bologna. Reproduced in Bode: “The
Bronze Statuettes of the Renaissance,” Vol. ITI, Pl. 198. ‘
WORKSHOP OF GIAN DA BOLOGNA
No. 432—HERCULES WRESTLING WITH ANTAUS
CLOSELY RELATED TO BENVENUTO CELLINI
433—A BRONZE STATUETTE REPRESENTING VENUS
frees
Florentine Second Half of the Sixteenth Century
Venus is represented naked, standing on a sloping wavy base. Her beauti-
fully shaped body is slightly thrown to the left, and the weight of it rests on
her right leg. The Goddess appears here as rising from the sea, and as a
reminiscence of it she is holding a.shell in her uplifted left hand.
Height, 191% inches.
Purchased from J. & S. Goldschmidt, December, 1911.
This fine statuette is very near in type and attitude to the statuette of Minerva
from the Heseltine Collection, London, given to Benvenuto Cellini, and reproduced in
Bode: ‘The Italian Bronze Statuettes of the Renaissance,” Vol. II, Pl. 146.
~’ CLOSELY RELATED TO BENVENUTO CELLINI
No. 433—A BRONZE STATUETTE REPRESENTING VENUS
ly
ee
CULES AND ANTHUS-
Hercules is represented percine with his legs wide apart, his body throw
backward, in an attitude of great tension. He is holding in a firm gr
Anteus, whose strength was invincible as long as he remained in contact
with the earth, and is ee him up from the earth 1 in order to dash him after-
long base.
Height, ey a
The composition of this group is exactly the same as in the one in the Ed
Simon Collection in Berlin, by Gian Bologna, representing the same subject and rep
duced in Bode: “The Italian Bronze Statuettes of the Renaissance,” Vol. III, Pl.
No. 434—AN ITALIAN BRONZE GROUP REPRESENTING
HERCULES AND ANTAXUS
AFTER ANTONIO RIZZO
435—BRONZE STATUETTE REPRESENTING EVE
Italian Late Sixteenth Century
Eve is represented nude, standing on around base. Her right leg is advanced
forward, and in her left upraised hand she is holding an apple. Her hair is
parted in the middle and falls in loose curly strands over her back and shoul-
ders. Part of it is twisted around her head.
Height, 17 inches.
Purchased from Charles of London.
This statuette is made after the famous statue by Antonio Rizzo, representing
Eve, in the Palazzo Ducale in Venice. The arrangement of the hair and the pose are
identical, and the only difference consists in the position of the hands, which are in-
verted. (See reproduction in Paoletti: “L’architettura e la scultura del Rinascimento
in Venezia,” and in Venturi: “Storia dell’ Arte Italiana,” Vol. VI, page 1067.)
THIRD AFTERNOON’S SALE
FRIDAY, APRIL 6, 1928
IN THE ASSEMBLY HALL
OF
THE AMERICAN ART GALLERIES
BEGINNING AT 2.30 0O’CLOCK
CATALOGUE NUMBERS 439 TO 615, INCLUSIVE
MISCELLANEOUS OBJECTS
B/O— 159 BRONY AND TORTOISE-SHELL WRITING BOX
Flemish Early Eighteenth Century
Oblong lifting top; enriched with tortoise-shell panels finished with ebony
wave moldings.
Height, 2% inches; length, 13% inches.
75 — 440—KARLY AMERICAN LACQUER BOX
Oblong lifting top, with incurving serpentined sides. Enriched with colored
cut-outs of notable personages and scenes; on black lacquered grounds.
Height, 5% mches; length, 11 inches.
4/§ —441—BURL CHESTNUT COFFRET Louis Philippe Period
Gondola shape, with ends folding over to form handle. Mounted in brass
with anchor, cross and cable chain motives, pierced gallery, scroll and husk
appliqués. Inscribed in French.
Height, 9 inches; length, open, 27 inches.
GO:
uo
GO.
442 —GILDED LACQUERED WORK BOX
Venetian Eighteenth Century
Scrolled oblong domed cover, enriched in Chinoiserie and gilding with quaint
subject, “The Queen of Sheba Visiting King Solomon,” and floral sprays.
Shaped sides similarly decorated. On scrolled feet.
Length, 101% mches.
4483—GILDED LACQUERED WORK BOX
Venetian Highteenth Century
Similar to the preceding. Floral decoration.
Length, 934 inches.
444—GILDED LACQUERED WORK BOX
Venetian Eighteenth Century
Similar to the preceding; with figure and floral decoration.
Length, 17 mches.
445—MAHOGANY TEA CADDY Chippendale Period
Oblong, with incurved dome-cover, having brass bail handle; swelling scrpen-
tined sides. On inlaid molded base with bracket feet.
Length, 104% wmches.
DRAWING ROOM LAMPS
45° 446—-MOUNTED CHINESE CLOISONNE LAMP AND SHADE
32°:
Oviform, with incurved neck and dragon-headed scroll handles; enriched
with turquoise bandings at neck and shoulder bearing archaic cloud and
other scrollings in lapis-blue, greens, reds, white; spear-motived valance below
shoulder band. Mounted in cwivre doré with leaf moldings at crown and
base. Champagne-colored silk shade. Fitted for electricity.
Total height, 27 inches.
447—MOUNTED CHINESE CLOISONNE LAMP AND SHADE
: Ming
Square, with straight sides and small round mouth; enriched on turquoise-
blue with scrollings of lotus flowers, j’wi band at base and floral panel on
red ground. Mounted in cuivre doré with rosette moldings at mouth and
gadroons at base having leaf and claw feet. Fitted for electricity. Cham-
pagne-colored silk shade.
Total height, 231% inches.
448—MOUNTED CHINESE PORCELAIN LAMP AND SHADE
Chien-lung
/2 Ie Oviform, with bulbous neck and spreading base. Penciled on fine white glaze
in red and gold with j’wi lambrequin, fruit and flower sprays, bands at
shoulder and foot, and small panels occupied by the symbols of the “Kight
Precious Things.” Cuivre doré mountings, at neck with gadroonings, at
base with ribbon-reeded and guilloched square plinth having leaf corners.
Gold lace shade. Fitted for electricity.
Total height, 41 inches.
yiP- 449—CARVED AND GILDED LAMP AND SHADE
Italian Eighteenth Century
Torchere, with balustered shaft enriched with husks and leafage. Supported
on similarly enriched scrolled tripod base. Crimson silk shade. Fringed.
Total height, 34 inches.
450—TWO CUIVRE DORE ELECTRIC LAMPS AND SHADES
Lows XVI Style
Tia Vase-shaped shaft, with twined acanthus-leaf branches and laurel-leaf finial;
on molded round acanthus enriched base. Gold lace and yellow silk shade,
festooned with ribbon flowers.
geet
ee
Total height, 25 inches.
451—CUIVRE DORE ELECTRIC LAMP AND SHADE
Louis XVI Style
Standing figure of a nymph supporting basket on her head, with arms for
lights. On round varicolored marble base and square plinth. Yellow silk
shade, trimmed with gold lace.
4 7q Or.
Total height, 34 inches.
452—POLYCHROMED GILDED ELECTROLIER
Italian Renaissance Style
70:
Standing figure of a winged amorino holding aloft a cornucopia fitted for
electricity. On molded square base, enriched with shell motives and heads of
putti. Composition finished in flesh tints and gilding.
Height, 1614, inches.
SPANISH, FLEMISH AND ITALIAN FIGURINES AND
OTHER OBJECTS IN CARVED WOOD
ee 4583—CARVED WALNUT BELLOWS Italian Renaissance Style
Pear-shaped. Enriched with festooned mask and scrolled demi-nymphs.
Length, 19 inches.
cite
454—TWO CARVED AND GILDED CHERUBIM
We Spanish Seventeenth Century
Winged, voluminously robed cherubim, standing on cloud forms and carry-
ing censers.
Height, 51% inches.
5 aa
35
p. 455—TWO POLYCHROME STATUETTES
7 Spanish Seventeenth Century
Cupidons in dancing attitudes. Naturalistically colored.
Height, 834 inches.
gO. 456—CARVED OAK PANEL Flemish Renaissance
Medallioned bust, supported by cupidons standing within a strap-scrolled
cartouche.
Height, 10 inches; width, 8 imches.
6) C
/ °° 457—POLYCHROME GILDED STATUETTE
Spanish Seventeenth Century
“St. John.” Standing, wearing ivory alb and embroidered black and gold
mantle.
Height, 1384 inches.
ek
458—CARVED POLYCHROME GILDED FIGURINE
Spanish Seventeenth Century
“Pilgrim.” Carrying a bag over shoulders and wearing gold-embroidered
black robes.
Height, 10 inches.
De
459—SCULPTURED POLYCHROME BUST Italian Renaissance
“St. John Baptist.” * Head, with curling hair, slightly cast downward; fin-
ished in natural colors. On carved, gilded and molded base, enriched with
rosettes, fruit, scrollings and stump feet.
Height, 12 inches; width, 10 inches.
90, 460—POLYCHROME CARVED FIGURE = Spanish Seventeenth Century
Figure of Cupidon. Standing on three winged cherubs’ heads and scrolled
acanthus-leaf base.
Height, 29 inches.
55°"
461—TWO CARVED AND GILDED BRACKETS Italian Renaissance
Molded shaped top; supported by two garlanded cupidons standing on a vase
form.
7 Oo.
Height, 12 inches; width, 10 inches.
462—IVORY INLAID ROSEWOOD COFFRET
Italian Seventeenth Century
A
oO,
Semicircular hinged top, alternately inlaid with small triangular motives of
ivory and rosewood. Oblong body, inlaid with diamond panels of ivory en-
graved with hound and spandrils of flowers. On button feet. Interior lined
with crimson damask.
Height, 10 inches; length, 174 inches.
. 468—CARVED AND GILDED POLYCHROME MISSAL STAND
/ 7, Italian Renaissance
Open oblong adjustable rest. Enriched with scrollings and winged cherub-
head in pediment, valanced base embellished with cartouches, acanthus rin-
ceaux and double displayed eagles at corners standing on bulbous forms.
18 inches square.
I A eee
7b, 464—TWO CARVED AND GILDED FIGURES
Italian Eighteenth Century
Lightly draped figure of winged cherub. Kneeling on one knee in the atti-
tude of singing.
Height, 18 imches.
465—TORTOISE-SHELL INLAID ROSEWOOD CABINET
g 0. Spanish Seventeenth Century
Oblong. Fitted with ten wave-molded drawers in amber tortoise-shell. Ar-
chitectural motive in center.
Height, 15 inches; length, 24 inches.
466—POLYCHROME CARVED AND GILDED STANDING MIRROR
Italian Renaissance
5 g 0. Oval molded opening, with strap arabesque scrollings, centered with amorint
at sides and masks at crown and foot. On oblong base.
Height, 2014 inches; width, 144% mches.
467—INLAID WALNUT CHEST Flemish Seventeenth Century
p>: Molded oblong domed lifting top. Fitted with massive secret lock. Front
| inlaid with figures of two coopers working on a barrel.
Height, 121% inches; length, 21 iches.
468—INLAID PIETRA DURA EBONY CABINET
40 i Florentine Renaissance
Oblong. Enclosed by two doors, enriched on exterior with panelings of ivory
lines, on the interior with ivory scroll panels embellished with carnelian medal-
lions. Fitted with upper compartment simulating three drawers and eight
irregular drawers similarly adorned to interior of doors and parted by por-
phyry columns having cuivre doré capitals and surmounting mythological
figures. The central drawer bears a fine intaglio agate coat-of-arms. The
domed top, with sliding panel, is hinged and discloses a painting in oil of a
cavalier, surrounded by similar scrollings to drawers. Supported on molded
base with long drawer and hexagonal rose marble feet.
Height, 21 inches; width, 191% inches.
Note: These Florentine Pietra Dura Cabinets were mainly made at the atelier of
and under the direct patronage of the Medici family.
00
“4 469—CARVED WALNUT CASSONE Italian Renaissance
Dentil-molded oblong lifting top; finely paneled front and ends. Enriched at
corners with winged and bracketed demi-nymphs. Supported on deeply
molded base with paw feet.
Height, 15 inches; length, 251% inches.
ITALIAN BRONZE AND IRON ANDIRONS
ep ae ie
44/9- «470—PAIR OF ITALIAN GOTHIC WROUGHT-IRON TRIPOD
CANDELABRA
Each has a plain shaft with a rectangular knop in the center; an openwork
revolving ring top, ornamented in archaic designs and holding a stitchet can-
dlestick. The feet are plain and form a tripod.
Height, 5 feet 6 inches.
ee 471—PAIR OF FRENCH RENAISSANCE ANDIRONS
A mace-like shaft with a knop terminating in an eight-lobed ornament which
bears four grotesque heads; below is an armorial shield. The base is square
in front and is formed of the head of a Satyr with the head of a faun on either
side of it.
Height, 30 inches.
D0
/] / D 472—GILDED BRONZE FIRE TOOLS Italian Renaissance
Shovel and tongs of black iron, finished with gilded male and female busts.
Length, 39 inches.
a oe ay L. &
73 -
is 473—PAIR OF ITALIAN RENAISSANCE BRONZE ANDIRONS
Each is composed of a full-length female figure, without arms but with nude
breast; an acanthus-leaf girdle below the waist; the feet pointing outward
and fettered. Each stands on an ornamental openwork base.
Height, 33 inches.
42°'s74 TWO GILDED FIRE TOOLS Piahate Reni aince
Shovel and tongues. Finished with gilded figure of an amorino. Utensils of
a later period.
Length, 32 inches.
ape
BY A FOLLOWER OF ALESSANDRO VITTORIA 4
POSSIBLY BY TITIANO ASPETTI to
475—A PAIR OF ANDIRONS REPRESENTING “WAR” AND _
“PRACE” Venetian Early Seventeenth Century —
First: The andiron representing War shows Mars, the God of War, in a
richly ornate armor standing upon a support with crossed legs and holding ~
with both hands a musket placed before him. The support is formed of
three winged female caryatid figures and masks and on the tripod base are
seen seated putti holding in their upraised hands lighted torches. They are —
seated on scrolls terminating in lions’ bodies, and between them are seen ero ies
tesque masks, bearded, and surrounded with foliage.
Srconp: The andiron representing Peace shows the same base and pedeste
as the preceding one. The statuette of Peace surmounts the whole and shows |
a draped female figure holding in her right hand an inverted torch while in
her left was probably originally a cornucopia. Her head is slightly turned —
toward the left. eet
Height, 41 inches; width at base, 191% ime
the J. Pierpont Morgan Collection, and equally representing War and Peace. —
duced in Bode: “Bronzes in the Collection of J. Pierpont Morgan,” Vol. II, Pl. 1.
Nos. 193-194. As for the lower part of the andirons, they are almost identical wi
irons in Vienna, reproduced in Planiscig: “Die Venezianischen Bildhauer of die
sance,” page 492, and given to the school of Alessandro Vittoria.
_ The possible execution of these andirons by 'Titiano Aspetti is based on t
_ that they show a close relationship with his works. The figures both of War and ae
are very similar to the ones representing Mars and Minerva in the Budapest Mus
reproduced in Leo Planiscig: “Die Venezianischen Bildhauer der Renaissance,” pa 56
Other works by Titiano Aspetti showing a relationship with the figures here reproduce
are shown in the above-mentioned work. pe
VENETIAN EARLY SIXTEENTH CENTURY
No. 475—A PAIR OF ANDIRONS REPRESENTING “WAR” AND
“PEACE”
Loe.
476—PAIR OF SIXTEENTH CENTURY VENETIAN ANDIRONS
Executed by Alessandro Vittoria
On the capital of a spiral column, which has as its base a mythical beast with
extended paws, sits a nude male child figure holding a torch in his right hand.
The little figure surmounting the companion andiron holds a fan in his left x
hand. Finished in a brown patina.
GOTHIC SIXTEENTH AND SEVENTEENTH CENTURY
EMBROIDERIES, CHASUBLES AND COPES
-O-
)
ci 477—GOLD-EMBROIDERED BRUSSA VELVET COVER
Rouge-de-fer velvet of fine radiance. Enriched solidly with gold threads;
displaying tulip-wreathed medallion occupied by jardiniére of flowers, sur-
rounded by beribboned trailing vines of further flowers. Deep floral border
and vine and leaf guards.
2 2/3 yards by 21% yards.
Be ERED ERED IVORY SATIN COVER
Louis XV’ Period
Rich ivory satin, enriched with sprays of flowers in colored silks and gold
threads. ‘Trimmed with wave-patterned gold lace.
1 yard 33 inches by 12 inches.
3 479—SILVER-INCRUSTED VELVET BOX Gothic Period
0,
Arched cover. Crimson velvet, enriched with pierced silver displaying curious
animalistic circular medallions and _ scrollings.
Height, 7 inches; length, 934 inches.
480—GOLD AND SILVER EMBROIDERED VELVET COVER
eae Persian Seventeenth Century
Ruby-crimson velvet, enriched with finely scrolled lotus flowers amidst which
are birds. Executed in gold threads and colored silks. Trimmed with gold
and particolored fringe.
AT inches by 29 inches.
481—CISELE GOLD AND CRIMSON VELVET COVER
or oe Rhodian Siateenth Century
Rose-crimson. Woven with sun and moon disks impaled on one another; exe-
cuted in gold and silver threads. Arcaded end borders of tulip and carnation
sprays alternately with gold and silver grounds.
1 yard 3 inches by 25 inches.
30 0. 482—SILVER-EMBROIDERED YELLOW VELVET COVER
Ttalian Seventeenth Century
Ruglike motives. Center displaying dainty scrolled medallion with long pen-
dentives and similarly scrolled corners in raised silver bearing sprays of pome-
granates and roses in pale pink. Leaf scroll border of silver and similar flow-
ers to center. Rare fluctuating amber-toned velvet.
114 yards by 27 inches.
From the Vitall Benguiat Collection, American Art Association, 1919.
Ss
et LS AN a rhe 65
ie 483—SILVER-EMBROIDERED YELLOW VELVET COVER
Italian Seventeenth Century
Similar to the preceding.
From the Vitall Benguiat Collection, American Art Association, 1919.
484—_ JEWELED EMBROIDERED CLOTH-OF-GOLD MITRE
Italian Seventeenth Century
Conventional shape. Enriched with scrollings of leaves, wheat and husks,
adorned with purple, red and green jewels on both sides. Executed in threads
of gold on ivory cloth-of-gold. ’wo long pendants at back similarly em-
broidered.
485—GOLD NEEDLE-PAINTED HOOD Italian Sixteenth Century
] BOs “St. John the Baptist Preaching in the Wilderness.” The noble figure of the
Saint stands in the foreground of a hilly, desolate country. Solidly executed
in mellow colored silks and passages of gold threads. Trimmed with gold lat-
tice fringe.
486—GOLD-EMBROIDERED IVORY SATIN HOOD
French Eighteenth Century
4q0-
Oblong, scroll-pointed at foot. Enriched with effigy of the sacred Lamb in
silver, surrounded by floral scrollings in raised gold. Trimmed with latticed
and tasseled gold fringe.
487—GOLD NEEDLE-PAINTED CRIMSON VELVET HOOD
Spanish Sixteenth Century
q 5° Oblong, scrolled at foot. Enriched with two needle-painted oblong panels
displaying figures of Saints Martha and Peter standing within niches. The
panels parted, surmounted and pendented with rare raised gold husk and leaf
scrollings. Exceptionally well trimmed with crimson and gold cords and tas-
sels at sides and foot, also with further cords and tassels for suspension.
b
488—GOLD NEEDLE-PAINTED CRIMSON VELVET HOOD
4,75 ‘ Spamsh Sivteenth Century
Similar to the preceding. With St. Magdalene and St. John the Evangelist
in the panels.
489—GOLD NEEDLE-PAINTED ORPHREY Italian Renaissance
/ OS: The Madonna holding the Saviour on her left arm, standing within a columned
niche. Executed in colored silks and gold threads.
Height, 12 inches; width, 8 inches.
490—GOLD NEEDLE-PAINTED HOOD ON CRIMSON VELVET
g6°,
491
6°.
VALANCE Italian Renaissance
Exquisitely wrought hood. In fine gold threads with delicate passages of
crimson, green and blue silks, displaying subject, “The Children of Israel
Fed by Manna in the Wilderness,” beautifully canopied by an arched arcade
having numerous pendentives. Trimmed with crimson and gold fringe. Val-
ance of contemporary close-pile, fluctuating deep crimson velvet. ‘Trimmed
with gold galloon, fringe, crimson cords and tassels at ends.
Length, 1 yard 31 inches; depth, 22 inches.
From the Vitall Benguiat Collection, American Art Association, 1919.
—TWO GOLD NEEDLE-PAINTED ORPHREYS
po oe Italian Renaissance
Rich ruby velvet, displaying two oval medallions, occupied by figures of saints,
interrupted by scrollings of Gothic leafage, jardiniére of fruit, dolphin heads
and birds. St. George and St. John in one, and St. Catherine of Siena and St.
Sebastian in the other. Ribbon and rosette borders.
Length, 1 yard 5 inches; width, 9 inches.
From the Vitall Benguiat Collection, American Art Association, 1919.
492—GOLD-EMBROIDERED CRIMSON VELVET CHASUBLE
27°"
Italian Renaissance
F'lame-rose velvet with fluctuating areas. Orphreys adorned in appliqué yel-
low and ivory silks having passages of green, blue and gold threads; display-
ing jardinicres of fruit supported on reversed Gothic leaf scrollings; rare
husk border. Trimmed with gold galloon. Reverse orphrey worn.
4983—GOLD NEEDLE-PAINTED DAMASK CHASUBLE
7 5.
Italian Renaissance
Paneled orphreys, presenting figures of Saints Francis, Peter, John and An-
drew standing within scroll canopied and columned niches; executed with
gold diapered backgrounds and colored silks. Trimmed with gold embroid-
ery simulating galloon. Rose-pink floral damask field; trimmed with galloon.
494—GOLD NEEDLE-PAINTED VELVET CHASUBLE
4b:
Italian Renaissance
Paneled orphreys, displaying figures of Our Lord and the Apostles Peter,
John and Mark standing within columned leaf-scrolled niches. Executed in
varied stitches of gold threads and colored silks. Field of rich crimson velvet.
Trimmed with gold galloon.
495—GOLD NEEDLE-PAINTED VELVET CHASUBLE
Spanish Sixteenth Century
400. Paneled orphreys, in colored silks and gold threads, displaying figures of
Saints George, Peter, Sebastian, Matthew and the Holy Virgin in rondel; the
others standing within columned and scroll canopies surmounted by Gothic
leafage in gold and silver threads. Lustrous close-pile wine-red velvet flank-
ing panels. Trimmed with gold galloon.
496—GOLD BROCADE CHASUBLE . Seventeenth Century
)/0. Golden-yellow field and orphreys; beautifully woven with sprays of pomegra-
nates and flowers on rustic stems. Executed in threads of silver, gold and
pastel colored silks. Trimmed with silver galloon.
497—GOLD NEEDLE-PAINTED VELVET CHASUBLE
Spanish Sixteenth Century
IPD. Orphreys in raised gold and silk threads, displaying four three-quarter-length
figures of saints and a royal Spanish coat-of-arms within oval medallions in-
terrupted by jardinicres of fruit, leaf and husk scrollings. Ruby-wine col-
ored velvet flanking panels embossed with floral cruciform devices within
chevroned interlacing circular motives. Trimmed with crimson and gold
edging.
498—DRAP D’OR BROCADE CHASUBLE
Venetian Seventeenth Century
GQ. f- Rich yellow cloth-of-gold. Woven with highly conventionalized pomegranate
sprays, scrolled leafage and dainty vines of flowers. Executed in old-red,
pink, blues, green and silver threads. Trimmed with silver lace.
499—GOLD NEEDLE-PAINTED VELVET CHASUBLE
Flemish Sivteenth Century
6) ee Orphrey on front in form of a crucifixion surmounted by an eagle and flanked
by cherubs; below in a windowed niche is the Holy Virgin and at foot the
Magdalene, surmounted by a fleur-de-lis. Old wine-red velvet field, adorned
with cathedral bells, winged angels and curious floral motives, in colored
silks and gold threads. Orphrey on reverse with three figures of saints within
niches. ‘Trimmed with green silk border.
500—CISELE CRIMSON VELVET COPE Karly Italian Renaissance
Orphreys and hood, of gold bouclé apricot-pink brocade displaying scrolled
/ 0°° pineapple devices; trimmed with crimson and gold tassels and edging. Yield
I of double piled ciselé velvet enhanced with conventionalized, wreathed-ogivals
entwined and surrounded by beautiful sprays of fruit. Woven in two tones
of rare fluctuating flame rose-crimson velvet. Interesting silver morse.
Length, 3 yards 7 inches; depth, 1 yard 2 inches.
501—GOLD NEEDLE-PAINTED VELVET COPE
Spanish Sixteenth Century
40°:
Paneled orphreys; in gold threads and passages of colored silk, displaying
figures of Saints Catherine, Nicholas, Matthew, Peter, James the Less and
John, standing under arched canopies surmounted by cartouches and floral
scrollings. ‘Trimmed with gold embroidery simulating galloon. Field of
fluctuating flame-rose velvet, impressed with mark of previous embroidery
toward foot.
Length, 3 yards 5 inches; depth, 1% yards.
(Illustrated)
€d00 LAATHA GALNIVd-AIGAAN ATOD—1OE ON
AYWOLNAO HINAHALXIS HSINVdS
THE SUPERB POPE SIXTUS IV COPE
502—GOLD NEEDLE-PAINTED BOUCLE DRAP D’OR RUBY
VELVET COPE Venetian Gothic
Orphreys very finely wrought in colored silks and gold threads; displaying
crocketed Gothic canopies with slender columns, occupied by standing figures
of Saints Peter, Francis, John, George, Nicholas and Martha. Beautiful
original hood, excuted in the manner of the orphreys with triple canopies and
tesselated floor occupied by subject, “The Annunciation”; the Holy Spirit is
seen at upper left, breathing the breath of life on the Virgin. At the foot of
the hood is Sixtus’s coat-of-arms bearing a scroll-branched tree and mantled
with his cardinal’s tasseled hat. Field of pellucid rose-ruby velvet of rare
close texture and beautiful radiance; woven in fine threads of gold, bouclé
at centers of floral motives, exhibiting conventionalized carnations, each with-
in two delicately ciselé lobed devices and growing from exceptionally well-
drawn supporting sprays of acanthus leaves occasionally bearing further
flowers and clustered pomegranate motives.
Length, 3 yards 6 inches; depth, 12/3 yards.
Note: This marvelous cope is not. only a tribute to the genius of the Venetian
weaver, but to the great designer, probably Mantegna, and the embroiderer. It was orig-
inally worn by Pope Sixtus IV (1471-1484), who was a member of the noted Della
Rovere family, which gave two popes and a dozen or more cardinals to the Church.
(Illustrated)
Ad00 LAATHA ATAU YOd dVUd AINOF GALNIVd WICHAN @TIO9N—<20s “ON
JIHLOD NVILANHA ‘AdOO AI SOLXIS UdOd AHAHdNAS GAL
2)
90°"
foo
405
5083—GOLD NEEDLE-PAINTED CISELE VELVET COPE
504—GOLD-EMBROIDERED COPE Venetian Seventeenth C
505-—-GOLD NEEDLE-PAINTED ALTAR FRONTAL
Venetian Gothic “a
Paneled orphreys, skilfully wrought in gold threads and passages of colored — a
silks with elaborately pinnacled and columned Gothic canopies in finely raised
gold, enclosing standing figures of saints; finished with gold embroid
simulating galloon. Hood wrought in similar rich manner with subject,
Annunciation of the Virgin.” Tield of fluctuating, close-pile flame
ciselé velvet, displaying varied pineapple and pomegranate motives y¥ .
and surmounting delicately cut lobed ogivals. ‘Trimmed with gold galloo ae
Length, 3 yards 6 inches; depth, 1 2/3 1
(Illustrated)
Rich mesh patterned Havana brown silk. Beautifully enriched with
ruined architectural scenes delightfully scrolled with large flowers a
Executed in mellow colored silks and profuse passages of gold. '
with gold edging. eee
Length, 3 yards 7 inches; depth, 1 yard 21
Spanish Renais
Close-pile rose-red velvet, enriched with four scrolled panels enclos Ing
medallions occupied by standing figures of St. John, the Virgin, the §
and a Calvary. Executed in yellow silk appliqué, gold and colc
threads.
4dO0)0 LAATHA ATASIO GALNIVd-TIGHAN GTOD—E0E “ON
JIHLOSD NVILANGA
sa ae | —
JI 59g PERSIAN BROCADE PRAYER PANEL Sixteenth Century
Deep rose-crimson mihrab. Enriched with hanging lamp bouquet and scroll-
ings of flowers in golden-yellow touched with passages of pale blue, green
and ivory. Spandrils and spirally twisted columns similarly embellished to
mihrab and crowned with narrow inscribed panel of lozenges. Green paneled
major border of ogivals enclosing golden-yellow and crimson sprays of flow-
ers at crown and foot, at sides with delicate pink in place of crimson. Tulip
and carnation scrolled yellow guards at sides. Crimson stripes at crown and
foot. Glass case for same.
Height, 5 feet 4 inches; width, 3 feet 11 inches.
600.
507—GOLD AND SILVER EMBROIDERED VELVET HANGING
OTS
372.
FO,
AGO.
ITALIAN, SPANISH AND FRENCH HANGINGS,
PORTIERES, LAMBREQUINS AND CURTAINS
Spansh Seventeenth Century
Lustrous rich crimson velvet, elaborately modeled in raised stitches of gold
and silver with coronetted double displayed eagle standing on a scrolling of
husks developing acanthus leaves, further husks and flowers which ramify
the entire field. Trimmed with deep fringe and guipure border.
Depth, 1 yard 10 inches; length, 3 yards.
508—JARDINIERE VELVET COVER Genoese Seventeenth Century
Silvery ivory ground, woven in soft apricot, pinks, pastel greens, yellows and
lavender with charming vaselike feather motives interrupted by rare sprays of
peonies. ‘Trimmed with varied tasseled multicolored fringes.
234 yards by 2 yards 2 inches.
509 -GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET BOR-
DER Italian Sixteenth Century
Rare fluctuating sapphire velvet. Enriched with floral medallions and ara-
besque scrollings occasionally touched with greenish-yellow silk. Trimmed
with gold embroidery simulating galloon.
Length, 2°4 yards; depth, 8 inches.
510—GOLD-EMBROIDERED VELVET BORDER _ Italian Renaissance
Lustrous sapphire-blue velvet; enriched with scrolled circular medallions
interrupted by Gothic leafage. Trimmed with embroidery simulating gal-
loon.
Length, 1 yard 32 inches; width, 91% inches.
511—SILVER-EMBROIDERED VELVET VALANCE
Italian Sixteenth Century
Lustrous rose-crimson velvet. Enriched in skilfully raised silver threads with
inscription interrupted by a coronetted monogram, M A., and flanking floral
panels. Trimmed with embroidery simulating gold galloon and deep fringe.
Length, 2 yards 16 inches; depth, 15 inches.
512 -GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG-
ING Italian Eighteenth Century
Ga Lustrous fluctuating sapphire-blue velvet. Enriched with coronetted and
draped oval medallion bearing a Latin inscription; flanked by acanthus-leaf
scrollings, corners of honeysuckle motives, borders at sides and foot with fur-
ther honeysuckle motives within strap lozenge panels. Executed in raised
gold threads with passages of silver. Trimmed with gold cords and tassels
and deep fringe at foot.
Length, 5 yards 26 inches; depth, 1 yard 28 inches.
(Illustrated)
5183—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG-
Go: ING Italian Eighteenth Century
Similar to the preceding.
Length, 5 yards 28 inches; depth, 1 yard 28 inches.
514—GOLD-EMBROIDERED SAPPHIRE-BLUE VELVET HANG-
5O: ING Italian Eighteenth Century
Similar to the preceding. With two large floral devices on field and border
at foot only.
Length, 2 yards 16 inches; depth, 1 yard 28 inches.
fd 5, 515—SAPPHIRE-BLUE BORDER Spanish Seventeenth Century
Pulsating heavy-pile sapphire velvet of remarkably varied shimmering gem-
like tones; waved at foot. Paneled and trimmed with patterned gold gal-
loon and fringe.
Length, 7 yards 32 inches; depth, 1314 inches.
516—SAPPHIRE-BLUE VELVET HANGING
| Spanish Seventeenth Century
Rare lustrous sapphire velvet, pulsating with lighter gem-like tones. En-
riched with circular medallion enclosing sacred monogram, M.A.; executed
in finely patterned gold galloon.
Tou
Length, 2 yards 5 inches; width, 134 yards.
430 0 :517—EMBROIDERED CRIMSON VELVET LAMBREQUIN
Italian Renaissance
Tripaneled with galloon, and embroidered in yellow silk a
ppliqué with Gothic
leaf scrollings. ;
Length, 66 inches; depth, 24 inches.
(funqua yzusajy6rq) OSNIONVH LAATAA AO1d-AUIHddVS GHUACIONANA AION els ON
315
50. 518—TWO CRIMSON VELVET PORTIERES
7 Italian Seventeenth Century
Rich heavy-piled rose-crimson velvet. Trimmed with earlier patterned gold
galloon. Lined with crimson floral brocatelle.
Length, 4 yards; width, 1% yards.
519—TWO CRIMSON DAMASK PORTIERES
a GO- 45° ie Italian Seventeenth Century
Rose-crimson; woven with pomegranates and large canopies of acanthus
leaves. Trimmed with gold galloon, cords and tassels.
Length, 2 yards 8 inches; width, 11/3 yards.
520 FOUR CRIMSON DAMASK PORTIERES
ae Italian Seventeenth Century
Similar to the preceding. Length, 2 yards 8 inches; width, 1 1/8 yards.
521—FOUR CRIMSON DAMASK PORTIERES
ah Italian Seventeenth Century
0: ee
a8 Similar to the preceding. Length, 2 yards 8 inches; width, 27 mches.
522—TWO CRIMSON GENOESE VELVET PORTIERES
715 ra Siateenth Century
5d O° Rose-crimson, cut and uncut velvet. Displaying beautiful lyre-shaped mo-
tives of husks and acanthus leaves, festooned with flowers; on embroidered
golden-yellow backgrounds. ‘Trimmed with crimson silk fringe. Lined with
crimson silk.
Length, 2 yards 25 inches; width, 1 yard 10 inches.
ek ee
60° 523—TWO CRIMSON GENOESE VELVET PORTIERES
Similar to the preceding. Somewhat later in weaving and having golden silk
backgrounds.
450”
FHT ee tN ES, CRIMSON GENOESE VELVET PORTIERES
Similar to the preceding.
FS oe CRIMSON VELVET PORTIERE
Florentine Sixteenth Century
‘Tri-paneled rose-crimson velvet. Enriched in appliqué yellow and tan silks
having frequent passages in soft-colored silk threads with scrollings, vase-
like motives and flowers. Trimmed with deep crimson fringe.
Length, 2 yards 30 inches: width, 1 yard 30 inches.
Heo) A. Porter ——__ ae 6 as 4004
476A. @ = et
Oe
526—FOUR IMPORTANT GENOESE VELVET PORTIERES
Early Sixteenth Century
Lustrous soft rose-crimson, of close-pile cut and uncut velvet; displaying
magnificent infloretted bouquets of flowers, supported on diaperea panneaux
and scrolled leafage; on golden yellow silk grounds.
Length, 4 yards 3 inches; width, 29 inches.
oe
pO: 527—-FOUR IMPORTANT GENOESE VELVET PORTIERES
Early Sixteenth Century
Similar to the preceding.
aaa
0 5283—FOUR IMPORTANT GENOESE VELVET PORTIERES
b Early Sixteenth Century
Similar to the preceding.
529—IMPORTANT GOLD AND SILVER EMBROIDERED HANG-
ING Spanish Seventeenth Century
Bout Rich rose-red velvet. Embellished with double displayed eagle standing on
scrollings which ramify the remainder of the field. Remarkably executed in
highly modeled raised threads of silver and gold. ‘Trimmed with rope
edging and deep gold fringe.
Length, 3 yards; depth, 1 yard 10 inches.
-5830—TWO VELVET BROCADE BAY WINDOW CURTAINS, SIX
TAFFETA CURTAINS AND LONG LAMBREQUIN
Louis XVI Period
Velvet brocade curtains woven with diamond trellis of acorned oak leaves and
laurel leaves in two tones of green enclosing sprays of crimson berries, on
ivory grounds. ‘Trimmed with tasseled fringe. Long festooned lambrequin
of similar velvet brocade, trimmed with seven pairs of tassels and fringe.
Green taffeta curtains of a later period, finished with fringe. Eight finely
tasseled curtain loops. _
Bx HOO +
Brocade: Length, 4 yards; width, 29 inches.
Taffeta: Width, 1 yard 20 inches.
531—_FOUR VELVET BROCADE AND FOUR TAFFETA CUR-
TAINS, AND TWO ARCH-FESTOONED LAMBREQUINS
Louis XVI Period
Similar to the preceding.
Height, including lambrequin, 3 yards 30 inches; width of brocade, 29 inches;
taffeta, 1 yard 17 mches.
532—TWO BROCADE ALCOVE CURTAINS AND LAMBREQUINS
/ Bi In the Louis XVI Manner
Honeycomb patterned blush apricot field beautifully woven with rustic
branches of trees festooned with tasseled blue drapery bearing large and small
pink roses and occasional shrubs of red berries. Festooned and fringed lam-
brequins woven in similar manner and continuing into curtains. ‘T'wo finely
tasseled curtain loops.
Length, 334 yards; width, 1 yard 7 inches,
Note: The brocade for these superb curtains and the following curtains was woven
at Mr. Salomon’s order in France and the choicest old patterns were searched out
before this charming pattern was selected.
(Companions to the following)
60%
4 ) OF 588—SIX BROCADE CURTAINS AND THREE LAMBREQUINS
| In the Louis XVI Manner
Champagne-colored field damassé with floral motives in lighter tone. Fin-
ished with broad borders matching the previous alcove curtains. Fringed,
festooned and tasseled lambrequins. Six finely tasseled curtain loops.
Length, 334 yards; width, 1% yards
g ¥ 29
(Companions to the preceding)
5384— FOUR BROCADE CURTAINS AND TWO LAMBREQUINS
HO 0: Oe a In the Lows XVI Manner
aL
Similar to the preceding.
(Companions to the preceding)
585—FOUR BROCADE PORTIERES AND TWO VALANCES
1d eke 9 Cs In the Louis XVI Manner
Similar to the preceding.
(Companions to the preceding)
5386—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR-
3 50: TIERES Spanish Renaissance
Hee “~ Golden-yellow cloth-of-gold. Enriched in crimson velvet appliqué with
+ scrolled and cartouched bouquets of flowers, outlined with gold cord.
Trimmed with crimson fringe and deep old gold fringe at foot.
Legth, 3 yards 8 inches; width, 2 yards 8 inches.
Poo ete
587—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR-
TIERES Spanish Renaissance
Similar to the preceding.
Length, 3 yards 8 inches; width, 1 yard 4& inches.
4 a 5 C4.
U5 0. 5388—TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR-
TIERES Spanish Renaissance
Similar to the preceding. With attached two-point fringed valances of the
same embroidery. No deep fringe at foot. Lined with earlier crimson bro-
catelle having similar fringed valance.
Length, 3 yards 16 inches; width, 1 yard 4 inches.
5389--TWO VELVET EMBROIDERED CLOTH-OF-GOLD POR-
O 2201 E :
ULO , TIERES Spanish Renaissance
Similar to the preceding. Lined with blue floral armure.
540—VELVET EMBROIDERED CLOTH-OF-GOLD LAMBRE-
QUIN Spanish Renaissance
Similar to the preceding. Composed of ten Vandyke points. Trimmed with
patterned gold galloon and fringe.
Length, 5 yards 28 inches; depth, 28 inches.
Zao.
425 541—ROSE-RED DAMASK BALDACHINO Italian Seventeenth Century
Lustrous two-toned silk, with flame-like areas. Woven with large vase-shaped
acanthus leaves supporting bouquets of highly conventionalized flowers.
Length, 3 yards; width, 3 yards 10 inches.
' 542—ROSE-RED DAMASK BALDACHINO Italian Sixteenth Century
Two-toned rose-red. Woven with leaf and scroll ogivals enclosing finely
infloretted bouquets of flowers. Trimmed with crimson latticed and tasseled
Vandyke fringe.
2 yards 21 inches by 2 yards 16 inches
4,
5483—PERSIAN HUNTING RUG ~— _ Siwteenth C
ANTIQUE RUGS OF THE SIXTEENTH, SEVENTEENTH
EIGHTEENTH CENTURIES
Florally scrolled-damassé rose-crimson ground; woven in blue, yellow, |
green, old pink and ivory with arabesque scrollings of lotus blossoms,
which varicolored birds are perched and animals of the chase are rum
Broad green-blue border displaying oval paneled crimson peonies and y
lotus blossoms interrupted by curious pink and crimson chetahs. P
pink and crimson guards. ae ae
6 feet 6 inches by 4 feet 8
Century)
nth
NG RUG (Sivtee
NTI
543—PERSIAN HU
No.
544—GHIORDES PRAYER RUG Seventeenth Century
Deep sapphire-blue, peaked mihrab bordered with varied red carnations and
tulips. Ivory spandril panel, closely woven with dull yellow and blue floral
motives. Angular scroll panels in tan and black at crown and foot. Broad,
deep ivory border with quaintly chevroned floral motives in blue, yellow, deep
green and red. Old yellow and pale blue floral guards.
6 feet 3 inches by 4 feet 6 inches.
PRAYER RUG
545—GHIORDES
Seventeenth Century
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547—GHIORDES PRAYER RUG Sixteenth Century
600,
Sapphire-blue mihrab, with small hanging lamp in peak. Ivory spandril
panel, closely woven with yellow, blue and green floral motives; narrow black
floral crowning panel and deeper, blue panel at foot. Finished with series of
blossomed stripes variously in green, tawny black, ivory and pale blue.
6 feet 2 inches by 4& feet 3 inches.
548—ROSE-DU-BARRY ISPAHAN RUG Sivteenth Century
4 / 0 Q- Rare fluctuating rose-crimson field, displaying large infloretted lotus blos-
! soms and cloud scrolls, amid dainty arabesque scrollings; woven in yellows,
greens, blues, ivories and orange.. Deep green-black border, enriched with —
large highly conventionalized, infloretted lotus blossoms and angular scroll-
ings. Orange guards.
6 feet 10 inches by 4& feet 8 inches.
4
oid
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li
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EEX
549—ANIMAL SILK RUG Anatolian Eighteenth Century
gees
Wine-purple field. Woven in pale yellow, gray, pink and orange with ara-
besqued floral scrollings enclosing plaquettes of flowers, animals and birds.
Oval medallion with wine-purple center similarly adorned to field. Dull blue-
green border with inscribed plaquettes in cream, green and crimson inter-
rupted by orange rosettes. Ivory and crimson blossomed guards.
7 feet 5 inches by 5 feet 3 inches.
550INDIAN SILK PRAYER RUG Seventeenth Century —
Mihrab of very lustrous fluctuating rose-red; curiously canopied in Gothic
manner; woven with flowering tree of life in pale greens and soft yellows.
Rose-red border enhanced with interlacing vines of lotus flowers in soft yel- —
. lows; guards also of soft yellow bearing rosettes scrolled with small Herati —
leaves in dark green.
6 feet 8 inches by 4 feet.
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Indian Seventeenth Century
551—SILK PRAYER RUG
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5 feet 9 inches by 3 feet 10 inches.
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552—PERSIAN TRICLINIUM SILK DAIS CARPET
Eighteenth Cen
Central panel with exquisite soft amber yellow field; woven in light
dark sapphire-blues, old-red and ivory developing long-stemmed, spread
formal bouquet of lotus and many other flowers. Scrolled pale blue
corners; finished with rich old-red border of blossoms and Herat
Flanking panels of fluctuating warm gray, bearing blue husked og
borders adorned with flowering shrub devices. Crowning panel si
flanking panels, with arabesqued floral oval lobed medallions at cen
ished with crimson floral border having three inscribed oval plaq
crown and foot.
inception and completion of the carpet, namely, 1112 and 1285 of tt
hammedan hegira, showing this carpet to be approximately 142
The outer are inscribed with poem: “The birds in the wilderness.
sixes and sevens. What is in the sky they see. What they see tk
(Illustrated)
EIGHTEENTH CENTURY
2—PERSIAN TRICLI
.
a
NIUM SILK DAIS CARPET
55
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On each side of this pair of cupids is another putto, set among swags of fru
_ child, embowered amid flowers of gay hue. Farther down are the plume
GRAND TAPESTRIES
The following Series of Four Grand Tapestries illustrate the Triumphs of
Scipio Africanus the Elder (237-183 B.C.), and concern his visit to the Afri-
can Courts of the Numidian Princes Syphax and Masinissa. They all have
their original beautiful borders ; the crowning in each composed of two cupidons
supporting a cartouche bearing a Latin inscription denoting the episode de-
picted. The cupidons also sustain very charming flanking garlands of fruit ;
these are continued at side, interrupted near the top by half-length cupidons
and toward foot by finely varied military trophies. The lower border is of
leaf motives. T'wo of the series are signed with the Brussels city mark ; namely,
a red shield flanked by B’s. One of these is signed by the weaver “G. V. D.
Streecken”—Gerard van den Stricken; the other by “H. Reydams—Henry
Reydams.” The condition of each is excellent, and the weaving of fine quality.
They are executed with a wealth of color and a wide range of deuente and rich
tones ; displaying fine blues, yellows, golden-orange, tans, greens, pinks, ivories
and grays, very charmingly accentuated by rare crimsons and occasionally by
’
resonant black.
—‘SCIPIO AND MASINISSA BANQUETING”
In a hall of ample proportions a gay throng, seated at a rectangular table —
laden with viands and fruit, is feasting; in the background are numerous
serving men and women. In the left foreground Scipio is seated in a curule —
chair at one end of the table, and wearing a laurel wreath; his back is turned —
to the spectator. Apparently the scene represents the rejoicings that re-
sulted from Scipio’s having secured the friendship of, among other Princes,
Masinissa. In the right foreground are attendants and musicians near a can-—
delabrum of ostentatious significance. Tarther back, to the right, Masinissa,
in armor, may be discerned at the festal board. ‘
In the center of the top border two cupids recline against a medallion which |
is inscribed: ““Scip[io] et Masan[issa] Amicitiam ineunt et mensae accum-
bunt.”
and foliage. In the upper portion of each side border is also seen a winged
helmet and the armor, drum, standard and quiver—all borne upon a mass )
flowers in full bloom.
Below, in the selvedge, is the well- known factory mark of the Brussels a
estry works: two B’s with a shield between, as well as the name H. REYDAMS
the famous tapestry designer and weaver.
About 18 feet 6 inches by 28 feet 10 E
(Illustrated) )
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554—“A TRIUMPHAL PROCESSION OF SCIPIO”
From right to left across the foreground moves the triumphal pro
with warriors who wear laurel wreaths and swords. Many on the «
right carry crowns in their hands. In the center lictors bear fasces.
on the left bear offerings which they will make in the Temple tow. rc
all hasten their steps. Outside of the Temple are seated old men and n
other figures are on the walls. In the background, and more to the |
all rendered anachronistically in a composite landscape setting.
Inscribed in the border above: “Ad Capitolium progrediuntur uf
crificia sua offerant.”
No. 554—“A TRIUMPHAL PROCESSION OF SCIPIO”
13,00 °°
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Inscribed above: * ‘Ubi SEED dat gage ay jungend. on
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No. 555—“SCIPIO GRANTS A TRUCE TO THE CARTHAGINIANS”
/
et.
556—“THE FUNERAL PROCESSION OF THE VANQUISHE
SYPHAX”
Roman Warriors, with others bearing fasces and military standards, |
toward the left. In the right foreground is carried the dead Syphax,
and still crowned. In front of him is a prisoner whose hands are bo
the belt of a mounted soldier.
Inscribed above: “Siphax Mortuus portatur.”
About 13 feet 6 inches b;
These four tapestries, possibly not a complete set originally, were acqu
two pairs from Benda, of Vienna, and Coneal of Cologne. They were su
acquired from Duveen Brothers.
In addition to the Brussels tapestry mark, which became obligatory f1
onward, we find the name of Henri Reydams. He entered on his career in
privilégié of the city of Brussels on Feb. 10, 1640, and found in 1671 a successo
son who had the same Christian name. Gerard van der Streecken was an exac
porary of H. Reydams the elder, and died in 1677. His daughter married G
mans. The history of Scipio was much favored as a subject for the weaver
sixteenth and seventeenth centuries. It is found in records pertaining to Giulio
Poussin and other painter-designers. a
A. Wauters: “Les Tapisseries Brucelloises,” pipes pages 5 324, 336.
A. Pinchart: “Histoire Générale de la Pipiatertene 1878-85, page 128. is
Jules Guiffrey: “Histoire de la Tapisserie,” 1886, pages 200, 318, 352
oie
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557—BRUSSELS TAPESTRY
After Teniers; Flemish Late Seventeenth Century
“The Noonday Rest.” A Flemish shepherd, wearing a feathered crimson
cap and eating from a bowl, is seated in the foreground of a rocky, hilly and
lightly wooded landscape, in which his sheep are scattered; beside him on the
wayside are an earthenware pitcher and a large copper bowl. The coat of
the shepherd, in exquisite turquoise-sapphire blue, gives a rare and beautiful
note to the quiet pastel shades in which the landscape is woven. Finished
with yellow band edged with blue.
Height, 4414 inches; width, 17 inches.
Note: The Cartoon for this interesting tapestry was executed by Teniers the
Younger (1610-1690).
mors
558—BRUSSELS TAPESTRY
After Teniers; Flemish Late Seventeenth Century
“Boors Dancing.” An elderly peasant in holiday garb is dancing with his
wife in the foreground to the tune of a piper at right who wears a rich blue
coat. Beyond, about center, is a stream bordered by cottages and a farm-
house. Woven in pastel colors with the costumes in lovely crimsons, yellows
and blues. Finished with a red and golden-yellow border displaying staves
with scrolled leaves thereon interrupted by leaf-cartouche corners.
Height, 3444 inches; width, 26 inches.
g 72
Note: The Cartoon for this interesting tapestry was executed by Teniers the
Younger (1610-1690).
Pe ra OSS okt Se See anes
559—BRUSSELS TAPESTRY
After Teniers; Flemish Late Seventeenth Century
“Boys Playing Peg Top.” V-trough for books, and three open shelves. Supported on slightly serpen- |
tined and scrolled ends expanding into rounded castored feet. The two
lower shelves finished with back. Inlaid with feathered panels, lines and band-
ings.
Height, 30 inches; width, 21 inches.
628—_CARVED WALNUT TABLE Jacobean Period
Molded oblong top, with flute-dentiled valance. Supported on vase balus-
tered legs having similarly balustered H-stretcher.
cae
Height, 18% inches; length, 2534 inches.
60.
629—CARVED AND GILDED BANQUETTE Lows XVI Style
Oval seat, with loose cushion in gray and cream medallioned silk. Frieze
enriched with leaf and pearl motives, supported on fluted round tapering
legs.
Height, 21 inches; length, 40 inches.
ce
420: 630—TWO CARVED AND GILDED ARMCHAIRS
Louis XVI Period
Oval molded back, very finely scrolled open arms. Supported on fluted
tapering round legs. Covered in earlier crimson damask, woven with pine-
apple devices.
6381—CARVED AND GILDED BANQUETTE Louis XV Period
Serpentined oblong seat; frieze enriched with open shell motives, rocaille and
sprays of leafage. On cabriole legs, with shell cartouche, leaf scrolls and
double X-stretchers. Seat covered in rose-du-Barry damask.
4 OF
Height, 1 foot 5 mches; length, 3 feet 6 inches.
682—FOUR CARVED AND GILDED FAUTEUILS
ee Se gal Louis XVI Period
I, 2°
Broad oval back, molded with guilloche motives, arm pads and seat covered
in French blue lampas finely woven in ivory and tan, the backs with alle-
gorical figures of “Folly” and Cupidon with a floral and basketed arbor and
standing on a lion-masked architectural scrolling; seat with a sleepy cupidon
standing on the back of one of two outfacing lions within a somewhat sim-
ilar arbor to back. Open scrolled arms with leafage on supports, and
further guilloche motives, which are repeated on the seat rail. On tapering
fluted round legs.
fon"
HS Seg
5 60: 6383—TWO CARVED AND GILDED FAUTEUILS
Louis XVI Period
Similar to the preceding, with arched oblong backs and straighter arms.
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4d 634—INLAID TULIPWOOD TABLE, MOUNTED IN CUIVRE
DORE Louis XVI Period
Oblong top, with outset square corners. Deep front, fitted with writing
drawer and two others below; paneled pilasters on all sides. Supported on
square tapering legs. Mounted in cuivre doré with pierced baluster gallery
at top, scrolled vines on pilasters, wreathed and bowknotted oval escutcheon, ~
molded collars and toes to legs. Dove-gray tapestry marble top.
Height, 281% inches; width, 17% inches.
LACQUER WRITING TABLE, MOUNTED IN CUIVRE DORE
Louis XVI Period
Lightly serpentined oblong top, lined in maroon leather having gilded tooled | 4
border. Valanced frieze with slender cabriole legs. Enriched in gold and
red with Chinoiserie landscapes on black. Mounted in cuivre doré with
molding to top, open rocaille appliqués to knees and toes.
Height, 28 inches; length, 3 feet.
ep)..
)
636—GEORGE WASHINGTON ACAJOU TABLE, MOUNTED IN
CUIVRE DORE Louis XVI Period
Molded oblong top, enriched with oval blue and white Sévres medallion bust
of George Washington. Paneled frieze; on molded tapering square legs
paneled with ebony. Mounted in cuivre doré with floral inset border to top
and frieze and stock toes.
Height, 25 inches; width, 174% inches.
637—INLAID TULIP AND HARE WOOD GUERIDON
ee. Louis XVI Period
Oval top, with harewood panel enriched with large basket of varied flowers
and tulipwood bandings. Frieze fitted with drawer and adorned with inter-
lacing round medallioned rosettes. Supported on slender cabriole legs, with
kidney-shaped harewood shelf stretcher having similar basket of flowers t6
top. Glass top.
Height, 2744 wmches; width, 19% inches.
Note: A very similar interesting gueridon is in the Jones Collection, South Ken-
sington Museum. ;
See?
rents tOKOEO= >IT =
— LD) .
a
0
9,42 638-INLATD TULIPWOOD CENTER TABLE, MOUNTED IN
; CUIVRE DORE Louis XVI Period
Oval top, enriched with lobed tulipwood banded medallion enclosing vase of
flowers, inkstand and other objects in the Chinese manner spread on a table.
Frieze with panels of similar objects to top; fitted with small drawer. On
slender cabriole legs having kidney-shaped shelf stretcher similarly inlaid to
top. Mounted in cuivre doré with pierced gallery, curious satyr masks at
frieze blocks, molding to shelf stretcher and cartouche and leaf toes. (Drawer
restored. ) Height, 23144 wmches; width, 1314 inches.
Note: A small table with similar Chinoiserie utensils is in the Jones Collection,
South Kensington Museum. It is evidently by the same Maitre Ebéniste as the above
table.
gs? 639—INLAID TULIP AND KING WOOD TABLE, MOUNTED IN
CUIVRE DORE Louis XVI Period
Oblong top, with round corners; front with three drawers. Finely inlaid on
front and ends with graceful scrollings of vines. On cabriole legs. Mounted
in cuivre doré to dove-gray marble top; small rocaille scrolled ecsutcheons and
as Height, 281% inches; width, 20% inches.
0
52? oH
640—INLAID TULIP AND KING WOOD GUERIDON, MOUNTED
IN CUIVRE DORE Louis XVI Period
Oval top; enriched with diamond lattice and kingwood bandings, frieze and
oval shelf stretcher similarly adorned to top. Fitted with end drawer. Sup-
ported on slender cabriole legs. Mounted in cuivre doré with open diamond
latticed gallery, knob to drawer, molding to shelf stretcher and scrolled
acanthus-leaved toes. Glass top.
Height, 2634 inches; width, 1614 inches.
—INLAID TULIP AND HARE WOOD GUERIDON
Louis XVI Period
Beaded, kidney-shaped top, enriched with circular medallion occupied by a
jardiniére of flowers and flanked by fine harewood diamond lattice. Frieze
fitted with drawer and inlaid with broad scrollings. Supported on slender
tapering legs. Drawer trimmed with leaf-scrolled brass escutcheon.
Height, 28 inches; width, 1814 inches.
S75 ; 642_INLAID TULIPWOOD TABLE, MOUNTED IN CUIVRE
DORE - Louis XVI Period
Oblong. Frieze fitted with writing slide, lined with original black leather
having gilded tooled border, mock mid drawer and drawer below and a mid
drawer at right occupying the space of the frontal mid mock drawer. Richly
inlaid with rosetted lattice and fluted pilasters above square tapering legs.
Mounted in cuivre doré with open gallery at top, plain shield-shaped
escutcheons and stock toes. Finely veined plum-pudding Brocatelle marble
top.
Height, 28 inches; width, 19 mches,
Note: Under lower drawer is an official seal of the original owner,
goo:
643—EXQUISITELY INLAID TULIPWOOD TABLE, MOUNTED
IN CUIVRE DORE Louis XVI Period
Oblong top, with canted corners and inset centers; richly inlaid with central
sprays of flowers, flanked by panels of parquetry cubes. Front fitted with
three drawers, the upper arranged with leather-lined writing slide and ink
compartment at right. Supported on square tapering legs with shelf stretch-
er of same contour as top; front, ends, back and shelf stretcher inlaid with
similar panels of parquetry cubes to top. Mounted in cuivre doré with shaped
molding to top and stretcher, satyr and leaf appliqués at corners of pilasters,
festoons at top of legs, bowknotted oval escutcheon and square toes. Rich in
color and patina.
Height, 281% inches; width, 18 inches.
From the collection of Lady Paget.
yo
3,9
644—INLAID TULIPWOOD AND HAREWOOD CENTER
TABLE, MOUNTED IN CUIVRE DORE
Louis XVI Period
Oval top of harewood, inlaid with quaint vessels and vases of flowers, finished
with cube and feathered tulipwood bandings. Pale green paneled frieze en-
riched with scrolled husk motives; fitted with small writing slide having old-
blue silk lining. Supported on slender cabriole legs and kidney-shaped shelf
stretcher inlaid with similar vessels to top. Mounted in cuivre doré with open
gallery to top, knob to slide and leaf-cartouche toes.
Height, 29 inches; width, 2234 imches.
Note: An interesting and similarly enriched table to the above is on exhibition in
the Jones Collection, South Kensington Museum.
0,0
0?°
647—INLAID 'TULIPWOOD WRITING CABINET, MOUNTED IN
CUIVRE DORE Louis XVI Period
Serpentined oblong top, slightly serpentined front, ends and back inlaid with
bowknotted bouquets of flowers. The front fitted with fall writing tablet
lined with original tooled green leather disclosing interior compartments ;
small drawer under. Supported on slightly cabrioled legs and shelf stretcher.
Mounted in cuivre doré, with molding at top, rocaille scrolled escutcheon,
and castored leaf toes.
Height, 34 inches; width, 17 inches.
oe Ls a eel
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648—INLAID TULIPWOOD AND ELMROOT TABLE, MO!
IN CUIVRE DORE Louis XV
-
Circular, with tripaneled body, enriched with oval medallions of «
ally fine elmroot. Front arranged with writing slide at crown
Right panel fitted at top with small hinged drawer swinging out ;
inkwell compartments. On slender cabriole legs and round shel
adorned with stellate center. Mounted in cuivre doré with pier
bowknotted escutcheon, molding to shelf stretcher and leaf-car'
tored toes. Glass top.
Height, 2834 inches; diameter,
Note: This charming little table has the maker’s long advertisemen
bottom of lower drawer. “Hache fils of Grenoble, who were ébénistes to.
léans in 1777. .
s
(Illustrated)
(polad TAX 8moT) WYOM AWAINO NI
GHLINNOW “ATAVL LOOUNTA GNV GOOMdITOL GIVINI—8*9 ‘ON
SOLS ee ac NG ae rR
F SUAC WW siorutopioey god. sodeyy: 39 8 ae
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No. 716—CARVED WALNUT CABINET (Ff
o °
es |
718—_CARVED WALNUT CABINET French
Upper portion with broken fronted cornice and frieze; enriched
oblong panels of Alps-green marble. Front enclosed with two do
medallions of Mars and Venus scrolled with satyr masks; arched |
pilasters adorned with graceful figures of Venus and Diana and |
Corinthian columns. On incurved molded and satyr bracketed
enriched central drawer. Broader lower portion ee comp¢
drawer, but no columns. Panels with satyrs stance on a, cin
birds; niches with figures of Mars and Venus standing upon b
On outcurved molded base and ball feet.
(Illustrated)
)
USANCE
Rena
T (French
No. 718—CARVED WALNUT CABINE
oo:
719—CARVED WALNUT CABINET ~ + Brena
Upper portion with molded oblong cornice; leaf-bracketed {
with winged cupidon head and flanking reclining satyrs. Fron
two paneled doors enriched with festooned cupidons standin
parted and flanked by fluted Corinthian columns having f
ward base. On molded plinth. Extending lower portion,
arranged with two scrolled leonic enriched drawers; bel
paneled doors adorned with strap and leaf arabesques |
satyrs; similar half columns to upper pags On molded |
feet.. Rich patina.
No. 719—CARVED WALNUT CABINET (French Renaissance)
40 0. 7290—-CARVED WALNUT WRITING CABINET _ Italian Renaissance BY
}25° ;
Molded oblong upper portion; with strap arabesque paneled ends. Fitted
with eleven drawers and two flanking enclosing doors enriched with ca
touched busts and arched central compartment. Lower portion with centra’
writing slide; supported on vine-embellished spirally twisted legs having ee
bracketed feet and arcaded cross stretcher with fluted Corinthian columns.
Height, 4 feet 5 inches; width, 3 feet 3 inches
and pilasters. Open fronted upper and lower portion, cael with four ee
round columns adorned with Raphaelesque arabesques and Ionic capi
parting frieze, with three panels having winged putto head, mask and |
scrollings. Long paneled pilasters with further finer Raphaelesque | ara
besque motives. On spreading, broken, leaf, ribbon and husk plinth with i
Siena marble base of a later period. Paneled ends. Enrichments gilded; 0
blue grounds. Interiors lined with ancient ciel-blue damask displa
scrolled floral sprays; fitted with two glass shelves. ee
h-S
Height, 9 feet 1 inch; width, 7 feet 9
(Illustrated)
Al
ABINE
CHROMED C
CARVED, GILDED AND POLY
721—
Oo
N
)
tan Renaissance
(Ital
722—VERY IMPORTANT SCULPTURED WALNUT SACRISTY
CABINET Italian Late Fifteenth Century
Beautifully bracketed oblong cornice; enriched with leaf motives and flutings.
Frieze fitted with two tripaneled drawers interrupted with amorini in the
round, standing or sitting on small brackets and central coronetted coat-of-
arms, mantled by a bust of nymph and supported by further amorim. Upper
portion fitted with fall front inlaid with superbly grained root walnut and
trimmed with engraved escutcheon. Pilasters, adorned on each with two
groups of allegorical figures in the round, one sustained by a bracket of three
amorini, the other with scrolled satyr mask. 'The ends with arched panels,
similar amorini frieze and single figure pilasters. On molded base. Archi-
tectural interior fitted with thirteen drawers, central and flanking doors hay-
ing canted molded pediments sustained by figure pilasters; the central with
shell-arched niche occupied by a finely sculptured figure of Our Lord. The
drawers trimmed with cuivre doré drop handles variously in the form of ox-
heads and fleurs-de-lis. Extending lower portion, with narrow frieze bearing
two slides for fall front terminating in amorini seated on dolphins. Front en-
closed by two arch-paneled doors similarly inlaid to fall, having figures of
flying nymphs in spandrils and rosetted band at foot. Oblong paneled pilas-
ters and arch-paneled ends. On molded base and cross blocks terminated in
leonic busts with paw feet. Very rich and beautiful patina.
Height, 6 feet 6 inches; width, 4 feet 10 inches.
From the collection of Amadeus, King of Sicily.
Had been numbered and catalogued by the Italian Government for retention in Italy.
Note: This early masterpiece of the sculptor’s and cabinetmaker’s art is unique
and its inception and construction is very justly attributed to the Florentine bottega
of Verrocchio (1435-1488).
(Illustrated)
eta SR a
No. 722—VERY IMPORTANT SCULPTURED WALNUT SACRISTY
CABINET (Italian Late Fifteenth Century)
00 °
723—CARVED WALNUT EXTENSION TABLE French Renaissance
Clamped oblong double top; with under top in two sections drawing to sides.
Rounded frieze, enriched with series of half shell motives and gadroons below.
Supported on arched ends having outfacing scrolled demi-nymphs with hoof
feet, cross stretchers terminated with recumbent lions, husk and leaf molded
central stretcher having central vase-like sustaining motive with open leaf-
scrolled brackets at crown.
Height, 801% inches. Top, closed: Length, 501% inches; depth, 341% inches.
peo”
724—CARVED WALNUT FOLDING TABLE Italhan Renaissance
Square top; with four hinged folding semicircular flaps raising and forming a
circular top. Supported on molded square pedestal paneled with arched and
scrolled leaf devices and having weird chimeric dragon brackets at corners;
sustained on a molded plinth and square base having four similar hinged
semicircular flaps to top, but with scrolling brackets. Rich patina.
Height, 3 feet; top closed, 4 feet 3 inches square.
A
Se
4
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4
4
O-
so 725—-CARVED WALNUT ARMCHAIR Henri II Period
Molded open oblong back. Enriched with crowning strap arabesque panel,
leaf, shell and mask scrolled pediment and pierced vase splat of two outfac-
ing harpies. Scrolled arms terminating in rams’ heads. Supported on
columnar legs having ball feet and box stretcher. Mask and leaf scrolled val-
ance to molded wood seat. Loose cushion of contemporary floral cut-velvet
in crimson and golden yellow.
559° 7296—TWO WALNUT STATE CHAIRS Italian Renaissance
ce . ae
es High oblong back and seat; covered in rose-crimson damask displaying vase
of flowers and rustic scrollings. Scrolled open arms, with baluster supports,
legs and stretchers.
50 Tes UN WALNUT STATE CHAIRS Italian Renaissance
5
ue Similar to the preceding.
J
Y
or
728—TWO CARVED WALNUT PRELATES’ CHAIRS
Early Italian Renaissance
Oblong back, with gargoyle terminals. Open scroll-molded arms, supported
by standing figures of saints within scrollings; scroll-stretchered legs, hav-
ing oblong panels and leaf balusters. Back covered with embroidered red
velvet panels of the period, displaying a coat-of-arms surmounted by a tas-
seled cardinal’s hat, wrought in appliqué silks and gold threads; red velvet
seat.
)5 BF 729—_CARVED WALNUT CHAIR — Northern Italian Siateenth Century
Cartouche back; enriched with laurel-wreathed oval medallion flanked by
pierced floral scrollings. Molded wood seat. On flaring round tapering legs.
300 ‘
ol:
we
fe
731—_CARVED WALNUT CHAIR
bd
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% &
30—CARVED WALNUT STATE CHAIR French Renaissance
High oblong back, serpentined at crown, and seat covered in rich lustrous
ruby velvet of the period. Open leaf-scrolled arms and supports terminating
in gargoyle heads. Most unusual scrolled legs with leaf and claw feet; beau- =
tifully scrolled frontal and baluster stretchers.
Cartouche back with satyr mask hand-hole and scrollings of leafage. Molded
wood seat. On tapering fluted round legs. Crimson velvet loose cushion of
the period.
Northern Italian Renaissance —
‘a
‘
4
Poe
49 : 732—SIX CARVED AND GILDED BROCATELLE STATE CHAIRS
Florentine, Régence Period
Serpentined fan-shaped high back, and shaped seat covered in rose-crimson
brocatelle developing large bouquets of infloretted flowers amid scrollings.
Deeply scrolled and molded open arms and supports enriched with arabesque
panels and sprays of flowers. Open leaf and strap valances to seat. Sup-
ported on boldly scrolling legs having similarly scrolled X-stretcher with ped-
estaled center surmounted by a berried vase. Legs and stretcher enriched
with similar arabesque panels and sprays of flowers to arms.
0 733—FOUR CARVED AND GILDED STATE CHAIRS
25 , Venetian Late Seventeenth Century
70 “ Similar to the preceding.
Oa
reat
730:
an
734—CARVED WALNUT DANTESQUE FOLDING CHAIR
Italian Sixteenth Century
Serpentined adjustable crowning rail. Enriched with scrolled dolphins;
rosetted and scrolled open arms; curule seat and legs adorned with scrolled
floral motives and shaped cross stretchers. Crimson velvet seat.
735—CARVED WALNUT CHAIR = Northern Italian Sixteenth Century
Cartouche back, with hand-hole. Enriched with cupid, three flanking satyr
masks and coat-of-arms below, mantled with helm and foliage. Molded
lozenge-shaped wood seat. On tapering flaring hexagonal legs.
736—CARVED WALNUT CHAIR Italian Renaissance —
Grotesque cartouche back; with hand-hole forming the mouth of a satyr mask;
further enrichment of scrolled dolphins and lower satyr mask. Molded wood
seat. On flaring tapering fluted legs.
737—CARVED WALNUT CHAIR Italian Renaissance Style
Cartouche back, with scrolled hand-hole. Enriched with three cherubs’ heads
and fruit. Scroll-molded seat. Pierced and scrolled frontal support, em-
bellished with fruit.
Cities
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738—_SET OF SLX SIXTEENTH CENTURY SPANISH
WROUGHT-IRON CHAIRS
The backs ornamented with openwork volutes and geometrical patterns, and
inset in each an oval panel with a Spanish inscription; they refer to the reign
of Philip II and to the years 1525, 1559, 1568 and 1595. Spiral posts, arms
and stretchers. Height. 65 inches» widi,. 30 snchess
Ae
q2° : 739—SIX CARVED WALNUT STATE CHAIRS
French Eighteenth Century
High shaped back and seat covered in earlier floral crimson damask. Finely
scrolled open arms and supports enriched with leaf motives and rocaille car-
touches. Scroll-valanced seat and cabriole legs similarly adorned.
740—INLAID CARVED WALNUT STALL French Renaissance
ip: Molded and paneled cornice; enriched with vase and scrolls; high similarly
paneled back, having medallioned bust surmounted and supported by dolphin
and satyr mask scrollings. Double scrolled open arms on leaf baluster
stumps; molded hinged seat with loose crimson velvet cushion, trimmed with
large similar-colored tassels. Double paneled front, on molded plinth. Pilas-
ters and lower portion of back panel inlaid with ebony and boxwood diamond
motives and Roman letters indicative of a previous owner.
Height, 7 feet 4 inches; width, 2 feet 5 inches.
(Illustrated)
741—_CARVED OAK CASSONE Italian Renaissance
5 ac Paneled oblong lifting top; front paneled and enriched with three caryatid
vA 7 pilasters; festoons of fruit and scrollings. Supported on bulbous legs. Heavy
scrolled iron side handles.
Height, 22 inches; length, 39 inches.
4 0 742—CARVED WALNUT CENTER TABLE Ttahan Renaissance
| Dentil-molded square top, with molded frieze. Supported on vine-enriched
spirally twisted legs, having plain box stretcher.
Height, 27 inches; width, 22 inches.
743—PEAR-TREE TABLE Itahan Seventeenth Century
/ p} a Round top, enriched with brass nails on molded edge. Supported on balus-
tered shaft, spreading base and bracket feet.
Height, 29 inches; diameter, 22 inches.
-O q
49 744—CARVED AND GILDED WALNUT TABLE Italian Renaissance
Molded circular top, with gilded leaf rim; rosetted frieze; supported on finely
pedestaled balustered legs.
Height, 321, inches; diameter, 22 inches.
No. 740—INLAID CARVED WALNUT STALL (French Renaissance)
qv.
joe’
179:
745—WALNUT CENTER TABLE Italian Renaissance
Molded oblong top and frieze, fitted with drawer. On fine columnar legs
having flat box stretcher. Height, 28% inches; length, 33 inches.
746—CARVED AND GILDED MIRROR Florentine Renaissance
Oblong molded frame; enriched with pierced leaf scrollings sustaining a coro-
net.
Height, 830 inches; width, 26 inches.
747—CARVED AND GILDED MIRROR Italian Renaissance
Deeply molded oblong frame; enriched with cartouches interrupting scrolled
demi-cherubs.
Height, 29 inches; width, 24 inches.
(ut 748—CARVED AND GILDED CONVEX MIRROR
Oo,
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American Eighteenth Century
Molded circular frame, with ball enrichment. Pediment adorned with spread
eagle surmounting a ribboned wreath. The apron composed of two coiled
serpents. Curious side arms scrolled for single lights.
Height, 4 feet; width, 2 feet 6 inches.
749—_INLAID SATINWOOD OVAL BREAKFAST TABLE
Sheraton Style
Oval top, enriched with oval scrolled husk and shell medallion, boxwood bor-
der with leaf and berry wreath; finished with tulipwood bands. Frieze of
same contour as top, adorned with pater over tapering square legs having
stock toes and open incurved stretchers; the legs inlaid with pendent husks.
Height, 2834 inches; length, 53% inches.
(Illustrated)
5 Oo set.
(
750—SIX INLAID SATINWOOD CHAIRS Sheraton Style
Three arm and three side chairs. Open shield-shaped back, splat with open
vase filled with bouquet of flowers, enriched with ribbon festoons at sides.
On tapering square legs having stock toes. Open scrolled arms and legs in-
laid with lyre and husk motives. Seat covered in broadly striped green silk.
(Illustrated)
No. 749—INLAID SATINWOOD OVAL BREAKFAST TABLE
(Sheraton Style)
No. 750—SIX INLAID SATINWOOD CHAIRS (Sheraton Style)
751—HALF-ROUND INLAID SATINWOOD CABINET
Sheraton Period
Top richly inlaid with tulipwood and fine elmroot bandings, oval medallion of
two festooned cornucopias of fruit, corner and half medallions interrupting:
the border and enriched with musical trophies. Front fitted with central
frieze drawer flanked by two hinged box drawers, inlaid with festooned jar-_
dinicre of fruit and flowers, the pilasters with bowknotted floral drops. Ar-
ranged below with central and two end doors; inlaid with oval medallion en-
closing basket of flowers, oblongs of pastoral trophies and the front with
kingwood bandings. On tapering legs finished with brass stock toes. he
Height, 3 feet 2 inches; length, 3 feet 3 inches. be
50 752—HALF-ROUND INLAID SATINWOOD CABINET eer ;
Sheraton Period
Similar to the preceding.
4>
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7583—HALF-ROUND INLAID SATINWOOD CABINET
Sheraton Period
Molded top, enriched with scrolled shell and wreathed half medallion, vase
toward front beautifully scrolled with delicate acanthus leaves and husks,
laurel and berry border. Front fitted with long central drawer flanked by two
hinged corner drawers. Two central enclosing doors below flanked by doors
enclosing corner cabinets. The frieze drawers inlaid with similar scrollings of
acanthus leaves to top, and shell motives over husked pilasters. 'The four
doors with oval boxwood medallions. On tapering square, castored legs en-
riched with tulipwood bandings.
Height, 3 feet 2 inches; length, 4 feet 7 inches.
[30
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754 _INLAID SATINWOOD HANGING CABINET Sheraton Style
Oblong, with bracketed pediment and apron. Fitted with glazed door, end
panels and glass shelf. Lined with green striped silk.
Height, 191% inches; length, 2014 inches.
755—DECORATED SATINWOOD THREEFOLD SCREEN
Sheraton Style
Rectangular panel, arched under crown. Painted with border of floral seroll-
ings, spandrils and medallion head at base. Panels covered in broadly striped
green silk.
Height, 5 feet 4 inches; length, 5 feet 6 inches.
756—INLAID SATINWOOD CABINET Sheraton Style
Oblong, with galleried top; fitted with glazed door enriched with husk drops,
glazed ends and five shelves lined with green striped silk. On square taper-
ing legs having stock toes.
Height, 551 inches; width, 211% inches.
757—_INLAID CARVED WALNUT STALLS Italian Gothic
Three hinged seats with bracketed miserere are supported by central arched
scrolling arms enriched with medallions of leafage and other devices and hay-
ing columns at foot and shorter recessed similar columns at top, crowned by
deeply scrolled moldings arched for back of seats and terminating in trefoil
motives over arms. Back of seats inlaid with geometric diamond motives in
colored woods. 'Tripaneled and columned back with fluted and leaf-adorned
cornice, of the Renaissance period, displaying leaf baluster vases scrolled with
acanthus leaves and husks. On molded extension plinth. Loose crimson
damask seat cushions; trimmed with gold galloon.
Height, 5 feet 11 inches; length, 7 feet 2 inches.
From the Seligmann Collection, Paris.
(Illustrated)
758—INLAID CARVED WALNUT STALLS Italian Gothic
Similar to the preceding.
From the Seligmann Collection, Paris.
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No. 757—INLAID CARVED WALNUT STALLS (Jtalian Gothic)
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759—INLAID CARVED WALNUT STALLS
Similar to the preceding.
From the Seligmann Collection, Paris.
£
2° 60—INLAID CARVED WALNUT STALLS
4, Similar to the preceding. 'Two-seated.
From the Seligmann Collection, Paris.
Height, 5 feet 11 inches; width,
Oo: : Me oe 4
761-CARVED WALNUT REFECTORY TABLE Italian
Oblong clamped top; finely spirally gadrooned frieze, enr he
motives and supplementary moldings. Supported on three a:
molded shafts and open scrolled brackets, sustained on a broad |
(Has been restored.) |
4)
ee
Height, 3 feet 1 inch; length, |
(Illustrated)
(aaupsswuagy wnrn}7)
AIGVL AYMOLOAAAYH LONTVM GHAUYVO—T9L ON
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9° 762—CARVED AND GILDED VELVET BROCADED CANC
BED Louis XVI
Paneled head and foot, supported on open fluted columns having x
terminals and spirally fluted tapering legs. Headboard with fluted
paneled with velvet brocade and surmounted by a festooned basket |
varied flowers. Footboard, hollow at center to foot rails, supporting ba
flowers festooned from side panels; side rails fluted. Molded domed «
enriched with upper and lower fluted and rosetted panels and ribbo
toons of large flowers. Valanced with velvet brocade, draped with s
tains of same brocade lined and furnished at back with green taffete
ster and coverlet also of the brocade, which is beautifully woven on ivo:
with diamond trellis of acorned oak leaves and laurel leaves of two t
green enclosing sprays of crimson berries, varied borders of mean
laurel and acanthus leaves and scrolling bouquets of flowers. ‘Two |
seled loops for side curtains. Box spring and mattress. |
Height of bed, 4 feet 91% inches; of canopy, 12 feet 6 inches; ont 6 feet
width, 4 ice 6 inches. ae
(Illustrated)
762—CARVED AND GILDED VELVET BROCADED CANOPIED
BED (Louis XVI Period)
7683—IMPPORTANT EMBROIDERED, CANOPIED CARVED
LACQUE BED Louis XV’ Period
Consisting of finely embroidered rose-du Barry silk lambrequin and large back
hanging draped as curtains from canopied cornice, silk panel in back of bed,
bolster, large coverlet, bed with gray lacqué scroll-paneled headboard, box
spring and mattress. The superb embroidery, executed on heavy gros-grain
silk, was designed in Paris and sent to China to be worked in silks which give
a most pleasing and harmonious ensemble. The lambrequin displays graceful
floral arabesques, finished with latticed and bowknotted festoons. The back
hanging and looped side curtains are draped in one piece and, like so much of
the fine Chinese embroidery, the pattern is rendered perfectly on both sides of |
the silk; it is enriched with a jardiniére of fine fruit surrounded by sprays
of further fruit, flowers, flying and perched birds of gay plumage and scrolled
basket panels toward outer edges. ‘The back panel of bed and bolster adorned
with arabesque scrollings, basket of flowers and facing birds. The coverlet
develops a four-lobed medallion of very beautiful flowers and fruit enclosing
lighter scrollings, birds, stellate devices; the field is scrolled with large flowers
and fruit from the outer corners of the borders, and birds are seen pecking at —
the fruit, irregularly scrolled borders developing arcades about centers shelter-_
ing low baskets of flowers and scrollings of husks and buds. The bed with
frontal cabriole legs, and enriched rails and canopy apparently of a late
period.
Total height, 11 feet 7. inches; giles of bed, 4 feet 6 inches; width, 5 ieee 4 im
length, 7 feet 4 inches.
(Illustrated)
No. 763—IMPORTANT EMBROIDERED CANOPIED CARVED
LACQUE BED (Louis XV Period)
Qt
ae
764—AUBUSSON TAPESTRY CARVED AND GILDED
Louis
Oblong head and footboard, enriched with oval medallions covere
Aubusson tapestry; woven in harmonious colors with beautiful
of rare flowers on ivory grounds. Supported on square posts
husked flutings and terminating in round vase-shaped legs and
finials. ‘The headboard embellished with a pediment composed
rose wreath and sprays of laurel leaves. Box spring, mattress”
covered in green stripe to match the coverlet.
Height, 3 feet 9 inches; width, 4 feet 51 inches; length, 6 fe
(Illustrated)
(powsag TAX smoT)
Cad GAACTID GNV GHAUNVO AWLSHdVL NOSSOANV—F94 ON
CONDITIONS OF SALE
__ I. Rejection of bids: Any bid which is not commensurate with the value of the
article offered or which is merely a nominal or fractional advance may be rejected by the
auctioneer if in his judgment such bid would be likely to affect the sale injuriously.
Il, The buyer: The highest bidder shall be the buyer, and if any dispute arises
between two or more bidders, the auctioneer shall either decide the same or put up for
re-sale the lot so in dispute.
Ill. Identification and part payment by buyer: The name of the buyer of each lot
shall be given immediately on the sale thereof, and when so required, each buyer shall
ose a card giving the lot number, amount for which sold, and his or her name and
address.
Payment at the actual time of the sale shall be made of all or such part of the
purchase prices as may be required.
If the two foregoing conditions are not complied with, the lot or lots so purchased
may at the option of the auctioneer be put up again and re-sold.
IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer,
and thereafter neither the consignor nor the Association is responsible for the loss or
any damage to any article occasioned by theft, fire, breakage or any other cause.
V. Delivery of purchases: Delivery of any purchases will be made only upon pay-
ment of the total amount due for all purchases at the sale.
Deliveries will be made at the place of sale or at the storage warehouse to which
purchases may have been removed.
Deliveries at the American Art Galleries will be made only between the hours of
9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries
will be made—between the hours of 9 A. M. and 5 P. M.
Deliveries at places of sale other than the American Art Galleries will be made
only during the forenoon following the day of sale unless by special notice or arrange-
ment to the contrary.
Deliveries at the storage warehouse to which goods may have been sent will be made
on any day other than holidays between the hours of 9 and 5.
Deliveries of any purchases of small articles likely to be lost or mislaid may bé
made pass discretion of the auctioneer during the session of the sale at which they
were sold.
VI. Storage in default of prompt payment and calling for goods: Articles not paid
for in full and either not called for by the purchaser or delivered upon his or her order
by noon of the day following that of the sale will be turned over by the Association to
some carter to be carried to and stored in some warehouse until the time of the delivery
therefrom to the purchaser, and the cost of such cartage and storage will be charged
against the purchaser and the risk of loss or damage occasioned by such removal or
storage will be upon the purchaser.
NOTE: The Limited space of the Delivery Rooms of the Association
makes the above requirements necessary, and it is not alone for the
benefit of the Association, but also for that of its patrons, whose goods
otherwise would have to be so crowded as to be subject to damage
and loss.
VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which
the Association is in no wise engaged, and will not be performed by the Agsociation
for purchasers. The Association will, however, afford to purchasers every facility for
employing at current and reasonable rates carriers and packers; doing so, however,
without any assumption of responsibility on its part for the acts and charges of the
parties engaged for such service.
Vill. Guaranty: The Association exercises great care to catalogue every lot cor-
rectly and endeavors therein and also at the actual time of sale to point out any error,
defect or imperfection, but guaranty is not made either by the owner or the Association
of the correctness of the description, genuineness, authenticity or condition of any lot
and no sale will be set aside on account of any incorrectness, error of cataloguing or
imperfection not noted or pointed out. Every lot is sold “as is” and without recourse.
Every lot is on public exhibition one or more days prior to its sale, and the
Association will give consideration to the opinion of any trustworthy expert to the
effect that any lot has been incorrectly catalogued and in its judgment may thereafter
sell the lot as catalogued or make mention of the opinion of such expert, who thereby
will become responsible for such damage as might result were his opinion without
foundation.
IX. Buying on order: Buying or bidding by the Association for responsible
parties on orders transmitted to it by mail, telegraph or telephone will be faithfully
attended to without charge or commission. Any purchases so made will be subject to
the foregoing conditions of sale except that, in the event of a purchase of a lot of one
or more books by or for a purchaser who has not through himself or his agent been
present at the exhibition or sale, the Association will permit such lot to be returned within
ten days from the date of sale and the purchase money will be refunded if the lot
in any manner differs from its catalogue description.
Orders for execution by the Association should be written and given with such
plainness as to leave no room for misunderstanding. Not only should the lot number
be given, but also the title, and bids should be stated to be so much for the lot, and
when the lot consists of one or more volumes of books or objects of art, the bid per
volume or piece should also be stated. If the one transmitting the order is unknown to the
Association, a deposit should be sent or references submitted. Shipping directions should
also be given.
_ Priced Catalogues: Priced copies of the catalogue or any session thereof, will be
furnished by the Association at charges commensurate with the duties involved in copying
the necessary information from the records of the Association.
AMERICAN ART ASSOCIATION,
New American Art Galleries,
Block of Madison Avenue, 56th to 57th Street,
Entrance, 30 Hast 57th Street,
New York City.
INTELLIGENT APPRAISALS
FOR
UNITED STATES AND STATE TAX
INSURANCE AND OTHER PURPOSES
AND
CATALOGUES OF PRIVATE COLLECTIONS Eg
APPRAISALS AND CATALOGUES. Together with the increase Tio ©
its exhibition and sales rooms, the American Art Association will expand its
service of furnishing appraisements, under expert direction, of art and literary ae
property, jewelry and all personal effects, in the settlement of estates, for in-
heritance tax, insurance and other purposes. It is prepared also to supplement
this work by making catalogues of the contents of homes or of entire estates, such
catalogues to be modelled after the finely and intelligently produced catalogues
of the Association’s own Sales. ‘iy
The Association will furnish at request the names of many Trust and Insur-
ance Companies, Executors, Administrators, Trustees, Attorneys and private
individuals for whom the Association has made appraisements which have not only
been entirely satisfactory to them, but have been accepted by the United States
Revenue Department, State Comptroller and others in interest. |
THE AMERICAN ART ASSOCIATION
AT ITS
NEW AMERICAN ART GALLERIES
THE BLOCK OF MADISON AVENUE, 56TH To 57TH STREET
ENTRANCE, 30 EAST 57TH STREET
NEW YORK CITY
COMPOSITION, PRESSWORK
AND BINDING BY
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